Princess Tiana solidified her place in Cincinnati’s music scene earlier this year with her single “Trip.” Since then, she’s been dropping videos to tease her next release, a full-length project titled Going Places. The seven-track album follows 2017 EP Believe It, and although it took her two years to prepare and it’s been a long road, she’s very excited to release it this spring.
“Every song is fun,” Cincy’s pop princess told Donuts n Akahol in a recent interview. “It’ll make you wanna roll the windows down [and] pop the top back!” Her latest offering is a sassy remix of Ella Mai’s addictive single, “Shot Clock,” which Mai released late last year.
Directed by Dre Shot This, Tiana maintains the basketball theme in her new music video for the single but puts her own spin on it, showing off impressive choreography and her signature vocal versatility.
Princess T wrote in an Instagram post that the remix is the perfect way “to welcome [Ella Mai],” who arrives in Cincinnati Wednesday (May 1) for her sold out show at Bogart’s.
The new CJ Knowles-produced beat breathes fresh life into the song and lets Tiana’s vocals shine. She keeps Mai’s attitude in her lyrics, but gives her man a little more time to meet her needs. Contrasting with Ella’s deep soulful tones, Princess Tiana plays up her high-pitched vocal range, complimenting the new beat. “You better rush, pick it on up, come and brighten my mood / Shot clock / Twenty-four seconds, maybe one minute ’till I change my mind,” she sings.
Make sure to keep an eye out for the soon-to-be-released Going Places, and until then, enjoy Tiana’s spiced up version of Ella Mai’s “Shot Clock.”
Cincinnati hip hop artist Dayo Gold is gearing up to release his 10-track album, EPSM – Essential Postive Soul Music. The Lima, Ohio rapper first hit the Cincinnati music scene in 2016 and has spent the last two years perfecting his craft. Currently being mixed by Devin Burgess, EPSM will follow his 2018 project, The Love EP, as well as several singles he’s dropped this year. Coming sooner will be a single (and perhaps a visual) called “Ohio Livin.” The talented MC first caught Audiofemme’s attention when he performed at Urban Artifact, rapping to an enthusiastic crowd that screamed back his notorious catchphrase: “Ask Ya Dad!” Here, Dayo Gold lets us in on some R&B-inspired details on his upcoming album, discusses the effect of Nipsey Hussle’s recent and tragic passing and its connection to his forthcoming single “Ohio Livin,” and explains where his name and famed catchphrase originally comes from.
AF: What are you working on currently?
DG: I’m in the works of a project right now! It’s called EPSM – that stands for Essential Positive Soul Music. I ended up making seven tracks. I made them in probably about a week, honestly. We just let it sit for a little minute, for probably two months, trying to find somebody to mix it. It didn’t quite go as planned and from that I ended up making three more songs. So I ended up making it ten tracks.
AF: Do you have a release date set?
DG: This summer for sure.
AF: That title, EPSM, does it hint at any R&B or soul influences?
DG: It kind of hints at a couple of R&B things. I think the most it does is the samples. We’ve got a “Let It Burn” sample in there, and that’s from Usher, we’ve got a Beyoncé sample from “Me, Myself and I,” that’s in there. We’ve got a Keith Sweat sample in there. It’s just a lot of that soul essence. I think what really made it soulful was we got into that bag of songs that really brought it out, we kind of touched into that 2000s era of R&B.
Dayo Gold/ Photo by Ian Massie
AF: Anything coming out before the summer?
DG: I’m thinking of dropping a single within the next two weeks. It’s a song I’ve been performing, “Ohio Livin.” I just think, with this Nipsey thing transpired, this song puts me back to a place where I felt the same way. I had a relative, he was killed the same way as Nip. This whole Nipsey thing transpiring made me think back to that time and I made “Ohio Livin” around that time, so once I played it back it brought back all those emotions again. So I was like, you know what, I think this is something that the world needs to hear. I’m definitely looking forward to that release.
AF: What other artists influence your music?
DG: I’m influenced by a lot of artists. Of course Nip, J. Cole, Joey Bada$$, Jadakiss, JAY-Z, Rick Ross. I’m kind of all over the place—I love street music and I love stuff that actually talks to the soul. That’s what I think this whole EPSM encompasses, like not only is it giving you messages for your soul but it just has an all-around good vibe to it that I think anybody would like, from the streets to the book-smarts.
AF: Your name – Dayo Gold. How’d you come up with that? And what about the catchphrase, ‘Ask Ya Dad,’ that the audience yells back to you at shows?
DG: At first, it was Golden Child. When I came around to trying to copyright it I saw that a lot of people already had it covered. So I knew I had to get a little more creative. I was taking a lot of African Studies classes back then and I was looking up on this site different African names and their meanings and I came across “Dayo.” When I read the definition it said, “joy arrives.” That’s the exact feeling I have about music and the exact feeling I want to have about life in general. If I’m not in a joyous state, if I’m not around people who are making me happy or enjoying my company or I’m not enjoying theirs, then I don’t want to be around them. I just thought that was a good life lesson to learn from that word alone and I wanted to embody it. I still wanted to keep Gold in there somewhere, so I got Dayo Gold.
The ‘Ask Ya Dad,’ that came from—I’m from Lima, Ohio. That’s a very small city. Our dads really knew what was going on in the city. My dad owns a barbershop down there so it’s a lot of barbershop talk, ‘he say, she say’ type shit. So if you wanted to know what was going on, you had to ask your dad. So we ended up making that a confirmation, like if your dad knows it then everybody knows it. Not only did it get to that, I started using it myself because I want to teach people through my music as well. Not only do I want to entertain and have fun with it but I want people to learn something.
AF: What do you think of the Cincinnati music scene right now?
DG: I came as a college student around 2013. Probably around 2016 is when I saw the Cincinnati music scene. I’ve always been the type of person to talk to anybody so when I got to doing my shows and stuff I was feeling a lot of love. I think the city is vibing right now, it’s kind of breaking out as we speak. Right now I think Cincinnati is on its way up.
Cincinnati-based artist Joness flexes her ability to jump back and forth from bouncy bars to hard-hitting vocal ranges as she intertwines classic hip hop sound with an R&B style on her new EP, Sheep.
Joness first hit the scene with her debut EP, Rule Number 9, following it up last week with Sheep: An Extended Play. The EP carries the listener through the internal stages of drinking – the shedding of inhibitions, the slurred words, the inner ‘wolf’ that comes out to play and ultimately making peace with the sometimes regrettable hazy memories. It’s as much a drinker’s inner monologue as it is a public display of Joness’ sonic maturation. While relatively new to Cincinnati, she was heard on several albums last year and this EP marks her coming into her own and finding the balance between her own artistic sheep and wolf.
Joness was recently a guest on the Future Moguls podcast where she explained that the EP’s title is a symbolic play on the phrase ‘a wolf in sheep’s clothing.’
“Our sheep is that persona that we want people to think of us as, but we all have a wolf within us that we fight so hard to not let other people see that part of us,” she said. “Either because we haven’t come to terms with that darkness, or we’re not okay with how it makes us feel.”
Joness / Photo by Kodak K.
The first track, “Waldo,” starts the party off. Joness raps over a fizzy beat with an energy that mimics the initial buzz. “Waldo” fades into “Composition 4,” which is where Joness gets to put her vocals on display. The boppy hip hop vibe from earlier drowns under an oncoming wave of R&B, from where Joness really thrives. Her inner drunk monologue is still having a good time, but “Composition 4” gets a little more introspectively dark.
“That’s kind of the context behind the EP,” Joness said on Future Moguls. “We all have an inner good or inner bad.”
The EP’s drama peaks at “Enterlube,” with dramatic bass-heavy production and Joness singing and rapping softy, almost eerily, over an ominous beat. Her speech becomes mumbled and her lyrics get distracted – also marking the peak of intoxication.
Sheep ends on a positive note with “Sweat,” featuring Cincy artist Muwosi. Joness again flexes her rhythmic flow and raps rays of sunshine, signifying the storm from the middle of the EP has passed.
As an artist who’s currently central to the Cincinnati scene, Joness’ long-awaited EP does not disappoint. She recently performed Sheep alongside an all-female set list at the No Cool Kids Allowed ‘Queens’ show. Vibe out to her latest offering and don’t be afraid to find your own inner wolf and sheep.
Tori Helene, Cincinnati’s latest rising voice in the hip hop and R&B scene, recently dropped her debut EP, Delusional. The Natown-produced project shows growth and a different creative direction for Helene, who released two singles last year – the sensual “Straight F***in” and heated “Judas.” The mood shifts quite a bit to introspection, pain, and healing on Delusional, where Helene has the chance to show off her impressive vocal range, get into her feelings and still drop some quick-paced bangers. A story of relationship woes, the EP fittingly starts with “Lord Knows,” the most vulnerable track, then travels through peaks and valleys, like the pain-escaping “Under The Influence” and the D-Eight assisted “Numb,” finally ending with a cocky and playful showcase, “2 Legit.”
Tori Helene gets a running start with Delusional, making her a newfound force to be reckoned with. Here, the Cincinnati singer talks about healing through her music, artists she’s inspired by and what’s up next.
AF: Congrats on your EP! Walk me through your inspirations and thought process going into this project.
TH: Thank you! I started on Delusional at the beginning of last year. I was in a deep depression [from] 2016 to 2017 and wanted to use music as a way to get these dark emotions out. Delusional shows a little bit of my vulnerability and my honest thoughts about relationships and experiences that I’ve gone through.
AF: “Under The Influence” is a standout track, can you talk about what the song means to you?
TH: “Under The Influence” was a collab I did with my producer. It’s about being in love with getting high and how it has helped me when I’ve been down. So we made the song where I’m talking like I’m talking about a man I’m in love with, but it’s really about my love for weed [laughs].
AF: Who are some artists you’re inspired by?
TH: My biggest inspiration is Beyoncé. I’m a huge fan. She has inspired me to be an entertainer. I would watch her when I was younger and just study her voice and how she performed for hours at a time. I also love Stevie Wonder, John Mayer [and] Whitney Houston.
AF: What’s your favorite song on the EP?
TH: I love all the songs on the EP. They all have my heart but if I had to choose, it would be “2 Legit” and “Numb.” “2 Legit” is fun and “Numb” is super real for me because it’s about my last relationship and how I messed it up.
Tori Helene. All photos by Randy Lefebvre.
AF: How did your music career begin?
TH: My music career began when I was 15. I started recording at my friend’s basement. I wanted to start learning the recording process and getting a feel for my sound. Then I went to college and decided to fully pursue [music] after I graduated. I graduated and then started releasing singles for a couple years and now Delusional is out.
AF: What’s something you love about the Cincinnati music scene?
TH: I love the versatility and I also admire everyone’s love for music here. It’s beautiful.
AF: What are you working on currently?
TH: I’m working on pushing Delusional and I’m about to start working on more music for later in the year and next year! The grind doesn’t stop.
AF: Any touring coming up?
TH: I do plan on doing a promo run later this year or next year. It’s still in the works.
If there’s anything 2019 has to offer so far, it’s a wealth of releases that followed in the new year. February was an especially prolific month for Detroit artists, following in the wake of January’s month-long hangover and a few spring-feeling days that turned into a polar vortex. Likely, these artists spent much of this winter hibernating in home studios, scheming their next moves. Ranging anywhere from Britney Stoney’s ephemeral R&B to angst-fueled post-punk from Paint Thinner, these releases crack the surface of the city’s diverse sonic landscape.
Britney Stoney – “Richy”
Britney Stoney’s evolution as a songwriter comes to a full blossom with “Richy.” Following her 2015 experimental indie-pop EP Native, she released ’80s inspired dance tracks”Grip” and “O.D.” “Richy” leans further into the electro-R&B sphere, with production by Jon Zott of Assemble Sound. Stoney’s smooth vocals are at the forefront of the track and deliver a simple message: “Love me before I go away.” Undulating synths and driving percussion echo the urgency of her voice. However, Stoney’s words are less a plea and more of a demand, reminding the lover in question that she’ll keep dancing no matter what the outcome.
Palaces – Palaces
Alt-disco quartet Palaces – Sean McGraw, Cat Cobra, Rachel Balanon, Dave Cliburne – released a new self-titled record bursting with synth-powered indie pop that pulls from the past’s infinite toolbox without feeling contrived. The songs are tinged with perspective, nostalgia, and even a bit of sarcasm, yet remain worthy of any retro dance party.
Mega Powers ft. Jade Lathan – “Virtual Boy” Music Video
Detroit producers Eddie Logix and Pig Pen make up Mega Powers, a slow-burning electronic project built on collaboration and experimentation. The latest visual for their song “Virtual Boy” is a prime example, as it repurposes a short film called “Flamingo” by artist Michelle Tanguay and filmmaker Andrew Miller that Mega Powers had soundtracked. Even at half of the original film’s 8-minute run-time, the clip manages to tell a story all the same via soft projected images and psychedelic lighting.
Paint Thinner – The Sea of Pulp
Post-punk outfit Paint Thinner released their debut record, Sea of Pulp, via ŌBLĒK. Recorded with Bill Skibbe (Protomartyr, The Kills, Jack White), the album is as clean sounding as a garage-punk record can/should be while exuding elements outside of what you would expect. Yes, we hear tense guitar riffs and heavy distortion (in fact, there’s a song called “Distortion”), but scattered throughout the heavy musical catharsis, there are moments of psychedelia and complex lyricism. There’s even a moment on “Soft Features” when vocalist Colin Simon channels Jonathan Richman circa Modern Lovers.
Sammy Morykwas ft. noMad, King Milo & Khalil Heron – “Into The Skies”
Detroit producer/rapper/songwriter Sammy Morykwas released the second of a long line of collaborative tracks he plans to unveil in 2019. After years of working under monikers and as a ghost producer, Morykwas is ready to take the credit that has long been due for his old-school style R&B and hip-hop production. “Into The Skies” is a contemplative track that features three artists from the underground rap scene. Morykwas is heard singing in the hook, a new role for the producer. Whether he’s behind the scenes or front and center, Morykwas has a knack for creating addictive hooks and beats that stick.
On Feb. 4, Seattle singer-songwriter-producer Parisalexa dropped a blistering new single, “Hothead.” The track, both defiantly relevant and subtly creative, takes the confidence Parisalexa had on display with her last two releases to new heights.
“Hothead” is perhaps one of Parisalexa’s most straight-forward pop releases. Rihanna and Ariana Grande come to mind upon listening—as Parisalexa mixes up something that’s a little-bit trap, a little-bit Erykah Badu—with lyrics that point toward a larger conversation about the injustices in today’s world.
As the single starts, Parisalexa sings, “I don’t really give a fuck/Feeling like I had enough/You don’t wanna start that shit with me,” and as she sings silkily, “you got me so hot,” the subject seems like an object of sexual desire. After all, both anger and sex are equated with passion, and Parisalexa’s vocal delivery teases at that dual meaning.
But, then we arrive at the chorus: “I feel like I’m/ Pissed off/ Shadow boxing.” This part seems to introduce another invisible, elusive challenger, and as her synth-y beat escalates, it feels much greater than a single individual. And when a snare beat repeats like rapid gunfire in rapper Laza’s verse, it seems to imply her eyes are looking to broader themes.
In this way, Parisalexa joins the larger national conversation in pop music about anger—at sexism, racism, facism, or just plain old ugliness in the world—which has been a more palpable undercurrent in recent hits from top pop artists like Kendrick Lamar, Beyonce, Justin Bieber, and Solange. (The song “Mad” from her smash 2016 album A Seat at the Table, couldn’t be a better example).
But Parisalexa said that when she looks back, she can’t remember what made her so furious.
“The process of writing ‘Hothead’ was pretty spontaneous,” she said. “My producer, Elan, and I were in the studio and I’d come in a bit irritated that day, so we decided to write about it. I started the first line with ‘I don’t really give a fuck’ and from there, I just let the words kind of spill out. Almost all the lyrics just came out in the moment from the pure emotion of being pissed off. Now, I actually don’t even remember why I was so mad. But I just knew how perfectly the explosiveness of the beat at the hook would lend itself to the song’s overall sentiment.”
Sure enough, “Hothead” ebbs and flows with Parisalexa’s slow-burning rage—and it’s intoxicating. It’s a space for listeners to finally release any heat of their own.
“Peace and blessings onto you,” Lauren Eylise says to the barista bringing over her dirty chai, seated in a crowded cafe surrounded by people escaping the chilly January afternoon. I don’t know if it’s her smile, her voice, or the bourbon in her latte, but this soulful Cincinnati singer exudes enough warmth to counteract the snowstorm going on outside.
Lauren Eylise is all about truth, transparency, and love. Her latest album, Life / Death / Life, is the perfect showcase of her ability to weave storytelling, openness, and unapologetic authenticity with hypnotic vocals over bluesy-R&B-soulful vibes.
The album was born from Lauren’s fearless post-grad decision to move to New York for an internship and the new challenges she faced coming home with less money, a baby on the way, and a million stories to sing.
We had the pleasure of chatting with Lauren about motherhood, spirituality, the healing power of her music, and more. Her next show is March 1st at The Woodward Theater.
AF: Tell me about your latest album Life / Death / Life?
LE: Life / Death / Life was my healing project. Between the time that project dropped and when I began it, a lot of shit went down in my life. I had a big breakup with a guy I was with for like two and a half years through college. We broke up like a week before I found out I was pregnant. I had just moved to New York two years before, living my best life, and then just had to drop all of that. The events leading up to me going to New York weren’t the brightest. I graduated from University of Dayton, which was a PWI—predominantly white institution—and there is a great deal of struggles therein. I mean, the African American percentage was like 2 percent, so that speaks volumes, and we were the highest percentage of minorities. It was a very heartbreaking reality-check – things that you would believe happened in the 1930’s or something, but to live it and have those things happen to me.
I went to New York when I graduated because I couldn’t find a job – I double majored in public relations and women and gender studies. Life was great. I got pregnant, and I moved back with less money than I went out there with. So, long story short, Life / Death / Life was all of that. All of my wounds and experiences and my release that I never really gave myself an adequate amount of time to process. And some of that healing wasn’t even finished with that, it was just the beginning. Life / Death / Life was for me, and holding up a mirror to myself and a lot of women who have had similar experiences, even if they’ve manifested in different ways. It was the catalyst for my healing, in a very open and raw way. For that, I’ll always love Life / Death / Life. It was inspired by a book—my bible—Women Who Run with the Wolves. That book is an exploration of the female spirit, and the concepts she was presenting I was finding within myself.
AF: Do you have a couple favorite songs off that record?
LE: Right now, “The Most (Madonna-Whore Interlude).” It’s still one of my favorites.
AF: What made you choose that title?
LE: I’ll tell ya! That has always been something I’ve struggled with. I grew up in a very loving household. We didn’t have much money, but I was spoiled in love. My parents didn’t talk to us about sex so I never really had any real communication about sex. All I knew about it was very religious—don’t have sex until marriage. My mom, she’s a nurse mind you, she tried to teach me when it came to my period about all that—but that’s not really sex, that’s not what it’s about and what it means. And I have problems with that, how women are taught about sex at a young age. Because what it does, is stifle a very natural instinct and makes it dirty and we, as women, have that experience while our counterparts, men, have a whole different experience.
So in life there’s just this natural-ass drama because you’ve been taught about it in your own toxic way, as a man, and we’ve been taught about it in our own toxic way, as a woman. That concept, in “The Most (Madonna-Whore Interlude),” is the idea that women are either pure virgins or just prostitutes, extreme, there’s noting in the middle—it’s just crazy. The song is about the amazing expression of female sexuality. I just got into my own world and let the words create a canvas of beauty—because it’s a beautiful thing. I mean, we are the gateway to life, how dare they tell us these lies! I really wanted to drive my point that I’m going to talk about sex how I want to, and I want every woman to do that. And it is okay for women to express themselves anyway they want to.
I also love ”Voodoo,” that’s my baby. I’m in the process of re-recording it at Gwynne Sound, best studio in Cincinnati. Great artists like John Legend, CeeLo Green, have come here to record there. Long story short, I’m re-recording “Voodoo” and it is a moment, sis. “Voodoo” is an ode to the women before me, women I don’t even know personally, but to my lineage, to my bloodline, because blood has memory. Sometimes things present themselves in our lives, which we don’t understand. The spirit world is real. So that being said, “Voodoo” was my song where I was like how do I give remembrance to the gift that I was given to those who paved the way for me to be here? I do believe that in our society today, black women, especially, are not always presented in the most eclectic and diverse of lights. There are these very concrete stereotypes and I don’t fuck with that because women of all colors come in all shapes, sizes and beliefs. We don’t all move the same and I think that really has to be respected and spoken about. I like the pun, because when people say voodoo they have certain things in mind.
AF: I love how you did that because it’s commenting on society’s labeling of something it doesn’t understand as scary.
LE: Exactly! The same is said to black women. When you think ‘black woman,’ these images come up that aren’t always the best. So, I was thinking voodoo, black magic, black girl magic—I thought it was very clever.
AF: How are you changing it in the re-recording?
LE: I wanted it to feel like a tribal thing, like we are a tribe of women. This is our anthem. Wake up in the morning and sing it everyday, it’s an affirmation. I feel like on Life / Death / Life, it’s a suggestion. Now, it’s an affirmation. It’s gonna move you. You don’t even have to be black for it, I feel like you hear it in your heart: who am I? Who am I. I love it.
AF: How did your time in New York affect your music and career?
LE: New York is my second home. I always say, Cincinnati raised me, New York made me. It brought me into my womanhood in a whole different way. I go back often – the city always welcomes me back. So much of my growth happened there, it’s all of my music, it’s all of me. I play a lot of shows in New York, it’s like home.
AF: Tell me a little bit about healing people with your music.
LE: The concept of healing, it wasn’t an intentional thing for me. I want to sing; it’s a natural instinct, its like breathing. My energy, I’m aware of, is very infectious. I became aware of the healing power of my music from people telling me. People messaging me, like, ‘I just want you to know your performance really got me through my day,’ or ‘I’m going through some shit, this helped,’ or ‘you healed me tonight,’ and I can’t judge your truth. I get chills about it. In that respect, it’s serious. And all I can do is walk in my truth and if walking in my truth heals you, then I guess I’m a healer and that’s that. I’m grateful to have the opportunity. And the same way that I affected you, somebody else has affected me. It’s an honor; I don’t take it lightly, I don’t take it for granted. I hesitate to call myself a healer, but I can’t argue with your truth.
AF: So you’ve been playing instruments and singing almost your whole life – what’s the first instrument you learned to play?
LE: My first instrument was my voice. I’ve been singing since I was two. I went my whole life, no lessons. I couldn’t afford them. My mom sang in a choir, my dad just loves music. He can’t sing but he loves it. When I got to college and I got the money I did take lessons for a year, a lot of classical training. I had to drop out of those because of money. I would like to be trained, if anything, for vocal maintenance. I’m seeing that now. You’ve got to keep maintenance for your instruments. I picked up the guitar summer of 2009. I was working at Coney Island. My friend taught me like three chords and I taught myself the rest. When I was 13, I started playing the piano, self-taught with that as well. Songwriting is what helped me learn those instruments. I hear a chord, find it. That’s how I built my knowledge.
Photo by Laura Kinney.
AF: Who are some artists you’re inspired by?
LE: I love the Isley Brothers. I currently am listening to a lot of Steely Dan. Some new artists like Jacob Banks, Jordan Smith. I love Rihanna and Beyoncé, more so as entertainers and the kind of career I want. I love Rihanna because her authenticity is undeniable. She’s so unapologetically herself. Bishop Briggs—that girl is bad! She can sing her ass off.
AF: So what’re you working on right now?
LE: I’m so glad you asked! I am working on my next project. I don’t know if it’s gonna be an EP, a full album, I don’t know. All I know is I’m waist deep in emotions, in lyrics, working with some new writers. I really want to stretch myself, dabble in different genres. I’m going to be doing a lot of touring. But my focus right now, is this.
AF: Will this be a continuation of Life / Death / Life?
LE: I would say so. There’s one song called “Peaks and Valleys” that I wrote as the conclusion of New York. “Peaks and Valleys” is like, this is happening, this isn’t happening to me, I made a choice, how am I going to act like a responsible grownup about this. So, it’s a transition form Life / Death / Life. It connects the two. I might call that shit Life / Death / Life…
AF: Part 2!
LE: [Laughing] We’ll see!
AF: Do you think you’re going to be done with it this year?
LE: Yes. I don’t know if we’ll release it this year. But it’s definitely going to be done this year. By the end of this year, I’m probably going to have like three projects under my belt.
AF: Tell me a little bit about how being a mother has impacted your art, your career, and your life?
LE: Aeon Ezra is a force. He’s three now. He is a part of me. It’s like I do things without even having it consciously in my brain. The moment my body detected life in me, I started moving differently. I knew I wasn’t ready for a baby when I got pregnant. I’m never gonna lie about that. I spit on shame. I don’t think women should ever feel ashamed of how they feel, especially during motherhood. Some of us do not want children, and that’s okay. Some of us get children and we do not want children, and that’s okay. I was one of them. I was living my best life by my goddamn self. I struggled. I wanted to get an abortion—part of me. And the other part, didn’t. The other part that was just like, I know this baby will be loved. If I was from a different family and I thought that he wouldn’t be, or I knew myself and thought I’d resent him, then maybe that decision would’ve been different. But I knew he’d be loved, and that’s what’s most important to me. I know my family, I know myself, and I was right—he’s loved as fuck.
When I talk about my early stages of motherhood, I’m unashamed and I’m unapologetic about how that felt. It was hard. But he was loved through it all, and that love grows everyday and some of that love was learned, and that’s okay. Every woman is different. I applaud women who come forward and speak about their experience because awareness is key, you can’t lie to yourself. The way I nurture and care for my son, I try to treat the world that way now. My lover, I choose to forgive him, love him, and nurture him—as long as it doesn’t sacrifice my own peace or self-love, because that’s something else. You can’t love someone else if you don’t love yourself and I think you should love yourself first and most of all. When you’re on an airplane, they tell you to put the mask on before your child. My son has taught me how to love. He’s made me a better person. A better warrior.
AF: Beautiful! Final thoughts?
LE: Know yourself. If you don’t know yourself, learn yourself, because in learning yourself, you learn love.
Audley takes in a performance at his residency last month. Photos by David Chimusoro.
It’s been a banner year for Cincinnati hip-hop artist Audley, who kicked off 2018 with the release of his debut studio album Pink in January and just finished up a month-long residency at Cincinnati’s The Comet. The weekly shows were named The Love and Light Series, which he says was inspired by the musicians he’s met and lessons he’s learned this year. Though he reps impressive rap skills with an energetic flow, what really shines on Pink are his buttery smooth R&B vocals—it’s no surprise that he names Childish Gambino as a musical influence. Here, Audley reflects on The Love and Light Series, how he manifests success through positivity and uplifting others around him, and gives us a sneak peek of what he’s bringing to 2019.
AF: How did your Love and Light Series go?
A: I honestly don’t even know where to begin! It was probably the biggest accomplishment I’ve ever done in my life. There was a lot of talent in one room every Thursday, just really good music bringing the community together. It felt like the perfect way to tip our hat to 2018, just one big celebration, and then MOTR Pub was absolutely nuts. TRIIIBE came up and did a guest performance out of nowhere and just slammed it down. It was everything I hoped for. I almost didn’t even do it.
AF: Really? Why not?
A: It’s just a huge commitment. If I wanted to do it, I wanted to do it right. So I told everyone I had too much going on at work, I had too much going on in my personal life, I just didn’t have time to do this and they’re like, ‘If there’s any time for you to do this, it’s right now.’ So I literally booked the whole series in four days and made it happen.
AF: What drew you to the Love and Light theme?
A: This year has been positivity-driven. I met Jess Lamb and The Factory last year at the CEAs [Cincinnati Entertainment Awards] and their message is very self-empowering, very spiritual. They’re just very much a beacon of light to tell you everything is gonna be okay. Their mantra is you’re beautiful, you’re powerful, you can make it. I was in a really rough spot when I met Jess and it really got me through the year, so the mantra has always been be a light, spread light, spread love.
AF: So based on the experience, would you do a residency like that again?
A: Something like it. I like the idea of a recurring event, just because it builds an audience and garners excitement. Would I do it every Tuesday for a month? Probably not. Would I pick a bigger venue and do it quarterly and do blow outs? Potentially. I’m looking into what that could be. Each venue has its pros, but it has its huge cons also.
AF: Your album Pinkcame out in January. Do you have a favorite song off the record?
A: I’d have to say my favorite song is “Sleep Alone.” That is like the best songwriting I’ve ever done. The melody, the progression from small to big from verse one to verse three, the beat is a banger—Devin Burgess produced it, he’s super talented. That song is just really pretty and I wrote it right before “Awaken, My Love!”came out, [Childish] Gambino’s record, and it just reaffirmed Pink for me. It was like, if he’s gonna dive into this beautiful funkadelic vibe, I can do the same. So I’d say “Sleep Alone” is probably my favorite. Obviously the bop of the record is “Game Over;” everyone loves that song. Honestly when I wrote it I didn’t know it was gonna be the song and then out of nowhere it had four times the streams as the other tracks, so it was like this one’s it, I guess.
AF: I love the R&B feels. Would you say Childish Gambino is a big influence on you?
A: Oh yeah, later Gambino. Because The Internetand on really spoke to me. I love his writing, [on] 30 Rock, and Community. He’s so funny and even his stand up is great, to the point where when I saw he was trying to make music I was like, dude, stay in your lane, because to me his music wasn’t as good as his writing. Now that I think of it, that’s such an ignorant perspective. He did a freestyle over Drake’s “Pound Cake” and it was amazing and I fell in love with him watching that.
808s & Heartbreakby Kanye West is my favorite album of all time. It’s the most vulnerable he’s ever been on a record, the best melodies he’s ever written, and I love 808 drums. André 3000 was the first rapper to show me that you can flex with class. He literally would be in a suit, but you’d still be intimidated. There’s such an elegance and fluidity to his flow, but that was his flex, and that was during the time of G-Unit and The Game. It was like these people that were really stunting on people, and I was like I wanna be like that guy.
AF: Looking into next year, what can fans expect?
A: Next year fans can expect definitely a new record. I think I’ll be able to make one relatively quickly. I can’t promise that it’s going to be [themed around] a color, which likes breaks my heart to even say, but I’ve learned and grown and have shifted my perspective so much this year that “colors” is such a single-faceted through-line. There’s textures, there’s emotions, there’s literal artifacts that symbolize things. I love the idea of owning a color because you get to own a world through a hue, but I think I’m ready to do something bigger. I’m ready to make a bigger world.
AF: You said you’re looking to collaborate more. Does the collectivity and openness of the Cincinnati hip-hop scene make that a little easier?
A: I would say a year and a half ago, it wasn’t like this. Everyone was so worried about putting themselves on that people didn’t understand that when you help someone else out, you get to elevate together. They thought that there was this finite amount of energy in a box and they thought people were taking their shovels and they were like, well, if I give him some then I don’t get some. Energy is infinite and the more that people have the more that people can grow off of each other’s energy. We’re all playing the same game. We’re all in the same scene; we all have the same obstacles. If you are trying to pull someone down to your level, that’s the same amount of time you could’ve used to elevate yourself to theirs. That’s why Love and Light was so important because we drove home every single Tuesday [that] you have to spread love, you have to be a light, even in your darkest of times. That’s when you need to shine your brightest because other people may need that light, too.
AF: That’s beautiful. Anything else you’d like to say to your fans?
A: I can promise that I will be doing a lot more shows out of town next year, and as of right now I’m working on the 2019 game plan. But I know that whatever I do, I’m going to curate something really special for this city, whether that’s a monthly or quarterly something—it’s gonna be Love and Light on steroids.
Detroit R&B artist Sam Austins has been completely killing the game since his 2017 release, Angst, and he shows no signs of slowing down. After his recent ode to queen Rhi Rhi’s cosmetic empire, Fenty, he’s gearing up for another mixtape release later this year. But he plans to tie fans over with an upcoming double single release, ROTY, and to tease the single Austins has gifted us with this painfully adorable and nostalgic 1-800-BALL-SAM ad.
The video is a spoof on the iconic Detroit ads for infamous lawyer Sam Bernstein, a Detroit staple in the ‘90s and early 2000s that anyone who grew up in or around the city would immediately recognize. This clever mix of nostalgia and authenticity is part of what has made Austins such an instant local favorite, earning him the nickname “Star Boy” from other Detroit artists and members of his team at Assemble Sound.
A born and raised Detroiter, Austins is all about encouraging the youth in the community here, and he’s hinted that his next release is one “for the kids”. “I just wanted to give something to my fans that they can hold onto while we finish up another very special project that I’ve been working on,” says Austins. “ROTY will be a soundtrack to the kids’ summer days and nights.”
We’re ready for it. ROTY will be on all streaming platforms on July 20th.
Detroit-based singer-songwriter Silence Is The Noise (Jewell Bell) has returned after a three-year hiatus with “Nappy,” a striking “love song for black women.” The song is a positive, empowering ode dedicated to uplifting black women and celebrating physical characteristics that have “historically been derided by white supremacy and make black women who they uniquely are.” Bell uses her soulful voice – which can hold a candle to the greats like Nina Simone, Beyonce, and Jill Scott – to embolden black women around the world.
“I am all too aware of the invisibility and marginalization of black women,” says Bell. “In writing ‘Nappy,’ I felt like it was something that I would not only want to listen to and feel strengthened by, but also for the women whom I love as well as black women globally. That affirmation of our beauty, strength, humanity, and visibility has always been a driving force in my life.”
“Nappy,” which was written and arranged entirely by Bell, touches on both the physical and intangible characteristics of black women. In the chorus, Bell sings, “I’m happy to be nappy/Thicker lips, thighs, and ass cheeks/Got soul that has carried me this far.” The message is simple: no matter what society or anyone else has told you, you’re perfect the way you are. Bell’s soul is evidenced in her gorgeously gritty voice, brushed with the wisdom of the world and personal experiences that have only made it stronger.
After making time for grieving and self-care following some personal losses these past three years, Bell is back stronger than ever and ready to share her voice with the world. She says the time off helped her grow as an artist and plans to follow up “Nappy” with an EP later this year. Listen to the single below.
If you combine the soul and melodic sensibility of artists like Mariah Carey and Lauryn Hill with the laid-back production and honesty of indie songwriters like Fiona Apple and Bedouine, and you’ll arrive at the gorgeous hybrid that is Knotts, the solo project of Cincinnati-based singer-songwriter, Adalia Powell-Boehne. We’re excited to debut “Your Mind,” the third single of Knott’s upcoming debut LP, Is It Art Yet?
Highlighting Powell-Boehne’s powerful voice, “Your Mind” is a meditation on things left unsaid and a call for transparency. “I write when I really need to get something out,” says Powell-Boehne. “I feel like we all have times when we wish we would’ve said something or we didn’t say the right thing. So, I was like, ‘Can I just say what I want to say and you just say what you want to say?’”
Throughout the song, Powell-Boehne repeats the phrase, “Say what’s on your mind/I’m so tired of pretending.” Her steady voice is neither a beg nor a command, but the clear and honest request of someone who’s done playing games. The simple keys and percussion act as a steady guiding force to Powell-Boehne’s razor sharp vocals. She relinquishes her strength for only a moment when she sings, “I don’t know how to win, I don’t know how to lose/I wish you’d stop asking me to choose,” in a hair-raising falsetto, showing her vulnerability and opening doors for compromise.
Listen to the single below and look out for Is It Art Yet? on May 26th.
When you think about music festivals, it’s easy to picture giant stages, overcrowded drink lines, and teenagers in various species of headwear. Whateverfest – an all-genre, all-ages DIY festival based in Detroit – is pretty much the opposite of that. Born from a “what if” conversation between friends in 2011, Whateverfest has grown from a few bands occupying every apartment in the Hyesta building to over 40 bands, spanning nearly every genre, playing at the Tangent Gallery. This Saturday, May 12th, the fest is returning for its eighth year and is set to go from 12 pm to 6 am the next day.
The fest’s lineup includes a vast array of Michigan bands as well as acts from Toronto (Rooftop Love Club), Chicago (Aathee Records), and Indianapolis (Gwendolyn Dot). One of the original festival organizers, Soph Sapounas, says that the event’s musical diversity comes from the laissez-faire ethos indicated by its moniker. “Whoever wants to play plays,” says Sapounas. “We’re all just trying to have a good time – it’s whatever. That [word] starts getting thrown around a little too much on the day of but it’s okay.”
Though the organizers strive to be as inclusive as possible, the festival’s popularity attracts a slew of submissions every year, which the team reviews in a democratic fashion. They host listening parties and make sure that the roster of artists performing represents the city as a whole. “We want to be a platform for artists and musicians in Detroit in general. Not just for rock, not just for techno – we want to include all of it,” says Sapounas. “That’s one of the things that keeps recurring, is people telling me that they think it’s really cool to see all the different scenes here and everyone having a good time together and not having that cool kid standoff.”
With groups like Spaceband (a nine-piece experimental funk collective), Ex American (new age electronic), and a handful of techno artists holding down the late-night sessions, the festival undoubtedly reps staple genres Detroit is known for and everything in between. If you’re in or around Detroit, this fest is more than worth checking out. If not, check out some of the amazing under-the-radar artists below – I’m betting they’re more eclectic than your Discover Weekly playlist.
The past week has been a prolific one for Detroit artists,with singles being released from all sides of the genre spectrum. Instead of highlighting just one, I decidedto choose a few of my favorites. From Virginia Violet and the Rays’ punchy “Modern Motown” to Tunde Olaniran’s “soft femme trap anthem,” these songs model the deep talent and vast diversity of Detroit’s music scene.
“Vulnerable” – Tunde Olaniran
Flint, Michigan native Tunde Olaniran has proven himself to be an absolute force of nature over the last few years, and “Vulnerable” is no exception. Following in the vein of 2017 releases “Hunger” and “Symbol,” the newest track is an empathetic, empowering ode to self-love, delivered with a sharp tongue and set to a dreamy, danceable beat. Repeating the mantra “What love can I give if I can’t love myself / Go in and go out of this world by ourselves / I just wanna be vulnerable,” Olaniran harps on the importance on discovering your true self and sharing it with the world. And with a voice like Olaniran’s, it’s hard not to be convinced.
“Apartment Fire” – Moon King
Moon King, a.k.a Daniel Benjamin, adds to his euphoric, funk-infused body of work with “Apartment Fire.” Combining ‘80s inspired deep synths with ‘70s funk guitar patterns and a silky sweet falsetto, Benjamin creates a languid, decade-defying sound. The song’s infectious beat and mesmerizing vocals can persuade anyone to move their hips, whether they can understand the song or not. This is a plus for Benjamin, who’ll be heading out on a lengthy European tour this spring.
“Go on Without Me” – Virginia Violet and the Rays
Virginia Violet and the Rays’ high-charged single “Go on Without Me” puts a soulful spin on the classic Bonnie and Clyde narrative. Virginia Violet uses her robust vocals to tell the story of a lovers’ heist that goes from enthralling to fatal. Her blustering eight-piece band plays an equal hand in spinning the narrative, with Tommy Porter’s apprehensive guitar riffs and a screeching four-piece horn section (Garrett Gaina, Adam Dib, Chris Kendall and Dave Vasella). It’s the perfect song to blast when you’re stuck in rush hour traffic but pretending you’re involved in a high-speed chase.
“Haunt” – Alexander Lynch
Detroit via Grand Rapids via Norway, Michigan artist Alexander Lynch has a penchant for making sultry songs that make you want to text your ex at 11:00 am on a Tuesday. “Haunt” is one such of those songs. Co-produced with Jon Zott, “Haunt” is a weighty, synth-driven track that accurately captures the feelings of longing and infatuation. While the song’s heavy bass and synth elements recall Flume and Chet Faker, Lynch’s strong, emotive vocals place him on the border of electro-pop and R&B.
Metro Detroit indie-pop/R&B group The True Blue has a knack for creating sultry songs that hit close to home. The band – comprised of Christian Koo (vocals, keyboards), Ben Wilkins (guitar), Koda Hult (bass), and Jake Burkey (drums) – has been playing together for around six years, but spent the past two yearshoning the genre-blending, dreamy sound that defines The True Blue.
Their latest single, “What Do You Think of Me?” unfolds like a poetic stream of consciousness, seamlessly combining Koo’s spoken-word delivery and silky vocals. Wilkins’ minimalist guitar riffs act as an anchor throughout the song, whether acting as Koo’s sole accompaniment or buried beneath a layer of distant synths, whirring bass, and boomy percussion. The shape of the song mirrors the agonizing process of ruminating on an ex – overthinking, frustration, and letting go.
Koo, who is known for his honest lyricism, says writing this song allowed him to work through some post-breakup anxiety of his own. “In my heart of hearts I know we’re cool, but [/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”][the song is] just me putting every insecurity I had about the situation out there and sort of baring it all,” says Koo. “Once you make that fear or worry into something that’s tangible, then you’re able to put it down.”
The fears Koo voices in “What Do You Think of Me?” are all too relatable: “What do you think of me, like if I post online? / ‘Cause if I post a photo it’s right there on your timeline / What’s the initial thought? / Is it good or bad? / Or am I just overthinking everything I thought we had?” For those emotionally mature enough not to block their exes (props to Koo), the immediate self-awareness in an era when so much of our lives is thrown out to the public can be crippling. You can literally see an ant-sized photo of any person who views your “story” and, chances are, if you’re heartbroken, you’re only looking for one.
Koo’s vulnerable and open lyricism is part of what makes The True Blue’s music so magnetic. “The True Blue has always been about staying true to your gut,” says the frontman. “When people tell me that our music has helped them through a rough time, it’s just something that’s really special in a really primal way – it’s like, ‘my soul connects with this.’”
Although Koo says the band is constantly evolving and changing their sound, we can be sure of one constant – relatable depictions of love, loss, and just being human.
Detroit locals can see The True Blue perform at The Pike Room on April 5th.
Rhye — the sultry bedroom R&B project of Canadian singer and multi-instrumentalist, Michael Milosh — came to Detroit’s El Club last night with special guest Boulevards. With both artists’ subject matter centered around the art of love-making, the show ended up feeling like a two-hour sex marathon, starting out hot and spicy and unwinding into a blissful embrace of sultry sweet nothings.
Funk god Jamil Rashad, aka Boulevards, opened the show with a high-energy and heavily oiled set. The glistening performer took the stage with a demanding presence, stunner shades, and an unbuttoned, Hendrix-esque shirt. Performing songs from his latest record, Hurtown, USA, Boulevards transformed the room into a ‘70s funk palace. You didn’t have to know any of his songs to be completely enraptured in Rashad’s euphoria-inducing performance. Taking cues from Greats like James Brown, Prince, and Rick James, the Raleigh, NC native shined on tracks like “Feelings,” and “Donezo.”
“Feelings” is a synth-powered anthem about trading vices for love – or maybe, letting love take the place of a more damaging vice. Rashad’s languid, spoken-word delivery is joined by an unmistakably funk-infused voice singing, “Give me something good to feel, show me how to feel” that had even the shyest dancers with their hands in the air. For his last song, “Sanity,” Rashad jumped down from the stage and parted the sea of adoring fans, making a pathway for a soul train and hopefully rubbing some of his virtuosic dance moves (and maybe a little body oil) off on the audience.
I honestly needed a cigarette after that set, but Rhye’s voice soundtracked an even more satisfying refractory period. If Boulevards was the climax, Rhye was the seraphic, post-coital spoon sesh. Milosh’s soft, androgynous crooning was so intimate it sometimes felt like he was whispering to the audience from under the covers. Although Rhye’s most recent release, Blood, has been critiqued as a less sincere, more manufactured version of 2013’s Woman, his incredible performance sent a clear message:haters be damned.
Milosh was joined by a full band, consisting of an organ, electric violin and cello, trombone, drums, guitar and bass, and occasionally took to the drums and keys himself. While his voice translated the exact chilling luminosity heard on both records, the added instrumentation allowed for precious moments of improvisation that could only be seen live, creating even more intimacy – if that’s even possible.
The room – which was mostly attentive but upheld a light murmur of buzzed conversation in the back – came to complete silence during the violin riff that kicks off Rhye’s biggest hit, “Open.” The violin captured attention and then the band teased the crowd by holding a trance-like, bare interlude until Milosh’s sensual voice released the tension. Other standout songs were the gentle and pleading, “Please,” where Milosh hopes to heal his lover’s sadness, and “Waste,” a reflection on a painful, unsuccessful relationship – both themes that everyone in the audience could likely cling to.
The entire set felt like an extended lullaby, putting everyone in the mood to go and curl up with a lover, or wish that they could.
Twenty-one-year-old alternative-R&B artist Sam Austins released a fun as hell single this week, named after Rihanna’s cosmetic line, “Fenty.” The song is a lighter follow-up to Austins’ anxiety-ridden 2017 debut album, Angst, and celebrates widening cultural perceptions of beauty. The release was accompanied by a massive billboard in Detroit’s Corktown neighborhood that shows a gorgeous Austins donning bold lips and a glimmering eye, a testament to his allegiance to the brand.
Although Austins isn’t the first hip-hop artist to challenge societal stereotypes of beauty, masculinity, and gender, he is one of the few. While icons like David Bowie, Prince, and Boy George made room for more fluidity in the rock/pop realm, hip-hop culture has been historically less forgiving of alternative expressions of masculinity and style. Frank Ocean helped in starting to shift hip-hop’s homogeneous image in his 2017 music video, “Nikes,” where he spends part of the video clad in eyeliner and glitter. Austins’ glamorous cover art follows suit and has inspired people all over to share their own versions of feeling themselves.
Since the release of “Fenty,” dozens of fans – including beloved Detroit visual artist, Ellen Rutt – have sent Austins and his affiliated residency, Assemble Sound, videos of themselves singing, dancing, and glowing the fuck up to the infectious song. Produced by Sergio Romero and Detroit’s Ice Pic, the song’s bouncy beat and entourage of background hype-men are the perfect compliments to Austins’ feel-good lyrics: “I’m still fresh off the drop like it’s Fenty / Sitting front row at the show like a Fenty.” There’s arguably no better high than feeling like you are Rihanna.
“Fenty” is a continuation of Austins’ artistic evolution and an excuse to sing into your selfie camera at full volume, no matter who you are.
From the outside, Assemble Sound looks like just another one of Detroit’s beautiful historic churches. And, technically, it is – but this particular church’s religion is music. The 145-year-old church serves as an artist residency and recording studio, does licensing/supervision, and has garnered a lot of attention for the diverse music made by its artists. The collective’s most recent release comes from alternative R&B artist, Alexander Lynch. Although Lynch, a native of Norway, Michigan, has only been living in Detroit for a few months, he’s already made himself known in the Detroit music scene.
“Wine Drunk” is his first single since his 2016 EP release, Love Lives, and is the perfect soundtrack for winter heartbreak and reflection. Co-produced by Jon Zott, the track balances warm synths with Lynch’s magnetizing vocals, creating a feeling reminiscent of a boozy haze. Lynch told Impose magazine that the song is about “recalling past emotional experiences through the filter of intoxication and isolation. It touches on several moments of regret in my life in a sort of self-deprecating cocktail.” That’s surely something we can all relate to during the holiday season. Take a sip and savor the sounds of regret and new beginnings.
Masses of R&B junkies flocked to Detroit’s beloved El Club this weekend to see Toronto’s Daniel Caesar. However, if the crowd came for the heavenly vocals, hooky chorus lines and earnest lyricism that Caesar has come to be known for, they were pleasantly surprised by his opener, Snoh Aalegra – the Swedish R&B-soul singer who was discovered by none other than Prince four years ago when she first came to the States to pursue her music career. With Prince as a mentor, Aalegra began to create her unique sound, inspired by Swedish pop sensibility, American R&B legends and Persian poetry.
“I always knew that I had to come here because R&B and soul is rooted in the states and I had to come here and work with the people who do it the best so I can become the best I can be,” saya Aalegra. So, she moved to LA in 2014 and signed with Sony almost right away. It wasn’t long before Aalegra realized the label was pushing her in a direction she didn’t want to go. Luckily, as fate would have it, The Purple One came to the rescue.
“Literally the day after I signed, Prince called Sony and was like, ‘Can I get in touch with this artist?’’’ Snoh reminisces. “I couldn’t believe it because he’s one of the major idols in my life… he was one of the biggest voices telling me to get out of my deal.” Free from the confines of a major label, Aalegra was able to write her music the way she wanted to, infusing the elements that make her unique – her multicultural background and love for classic R&B.
“I speak three languages and each language – Swedish, Farsi, English – has so much beauty and depth to it,” Aalegra explains. “Farsi is very, very deep. There’s certain things you can’t even translate.” Despite her diverse background, Aalegra says she was surrounded by American R&B from an early age. “My mom didn’t play so much Persian music at home,” says Aalegra. “She played Shirley Bassey and a lot of Whitney Houston and soul music, so I discovered that kind of music at home. But then, I got really into Persian poetry and I think that has affected my writing a lot.”
When writing a song, Aalegra pulls on the influence of her idols – she cites Prince, Michael Jackson, Whitney Houston, Stevie Wonder, Mariah Carey, Brandi and Lauryn Hill – along with the emotional depth of her native tongue. Her efforts have paid off -in October, she released her debut full-length, FEELS, the follow-up to her 2016 EP Don’t Explain.
These multicultural muses and the fact that she writes all of her own music are what set Aalegra apart from other R&B divas. Performing on El Club’s modestly sized stage with a four piece band, Aalegra shone in a stripped down set that would otherwise expose the less talented. More traditionalist songs like “Fool For You” and “Nothing Burns Like the Cold” nod to Aalegra’s admitted Stevie Wonder and Whitney Houston obsessions, while “You Got Me” and “Time” serve as a tribute to 90’s R&B. Throughout the show, Aalegra’s sultry voice floated through the decades with ease, creating a timeless sound that won’t soon be forgotten.
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.
For this week’s New Music Monday we have the debut track from Sara Diamond. “Just Give In” is an R&B laced pop number about giving into emotion and turning anticipation into experience. The song showcases Diamond’s sultry vocals, complete with a throwback voicemail moment. The Montreal-based singer debuted the gem today on Noisey, take a listen for yourself below.
Lara Maxen released her new track, “Man Up”, replete with glistening production (via producer Mickey Valen), and Maxen’s velvety vocals that reference R&B sirens like the late, great Aaliyah. In particular, the infectious snare beat that underpins the second part of the refrain has us pressing replay. This track will undoubtedly get you ready for the weekend – especially if you’ve recently kicked your man to the curb.
Detroit-adopted Ann Arborite and premier Motown revivalist, Mayer Hawthorne, returned this week with another funk infused groove, “Cosmic Love” from his fourth solo studio LP (his first in three years) due out this spring. If you’re unfamiliar, you might think Hawthorne is just another white boy relying on soulful affectation. What you should know is that Hawthorne has built his reputation on authentically modernizing funk, soul and Detroit’s signature Motown sound in a way that has always felt fresh and fun but with a soothing melancholy that speaks to what Hawthorne does best: croon and groove.
This time around, however, I feel as though Hawthorne missed an opportunity. “Cosmic Love”, for me, is borderline comical. It could fit into a shaky Shaft-esque 1970’s amateur porn or a montage scene from an Anchorman movie with equal fluidity. It’s satirical in its literal interpretation using galactic twinkling synths, Hawthorne’s spacey echoed vocals, and the breathy female background chorus, all of which makes “Cosmic Love” feel more like a store-bought Halloween costume than a reinvention of your parent’s vintage wardrobe.
Am I a jerk for longing for heartbroken, lovelorn Hawthorne circa 2009’s A Strange Arrangement? Or story driven, assertively dreamy Hawthorne from 2013’s Where Does This Door Go? Considering Hawthorne is an artist who begs us to turn the clocks back, isn’t it natural for me to want to do the same? It should be said that I like “Cosmic Love.” I do. I can appreciate its playful, candied kitsch. The single opens with the lyrics “If I had a dollar/For every dream of you and me/I’d buy myself a rocket/And shoot into your galaxy” and by the end all I can think is that I wished he would have shot a little further.
As I write this, it’s dark out. Rain falls. My apartment fills with the sounds of rain and R&B star Rebecca Jade‘s latest single “Weather The Storm.” Jade’s award-winning voice comes through the speakers. Beautiful to the point of (literally) moving the listener to tears, vocals are joined with the sounds of a full band, also known as the Cold Fact, performing as Rebecca Jade and the Cold Fact. In the music video, the song is put to the images of WWII-era nostalgia as Jade sings her heart out, a stunning woman with old Hollywood looks. An emotive and simply lovely song, it’s enough to warm a room during a winter storm itself, and able to remind you of the beauty in all experiences, even storms caused by heartache. One can only imagine that the experience of the song is even more abundant and all-powering when heard live – an experience you get a glimpse at while watching the music video.
“Weather The Storm” is the first single from her upcoming record A Shade Of Jade, which is due out in 2016. Listen to “Weather the Storm” below.
I first met Gosh Pith during their soundcheck last month at the Royal Oak Music Theatre while opening for JR JR. I remember walking across the stage and making a snap judgment on their appearance, assuming I knew what they were going to sound like (something I am guilty of time to time). I had almost made it to the stairs leading to the green room when Josh Smith released his voice into the empty theatre without music to back him. It was soulful. It was sincere. It was sensual. It was completely unexpected. “Did that sound alright?” Paralyzed with the realization that I was wrong (and happily so), the other half of the self-described “cosmic trap” duo, Josh Freed, interjected his sultry, carbonated, synth beats which moved me from my frozen stance of disbelief. Smith joined in, and I was suddenly, without wavering doubt, a Gosh Pith fan.
Last week Gosh Pith released “Gold Chain,” the first single on their independently released EP due out next year. The EP could rival The Weeknd, The Neighborhood, and likely any literal weekend or neighborhood. Freed and Smith seamlessly weave indie pop with alternative R&B with a tenderness and clarity that you’d only anticipate from seasoned multi-genre artists. “Gold Chain” is a balancing act, and Gosh Pith commits to handling the track’s softness and its expletive fervor with equal care.
“Gold Chain” shares a common thread with Gosh Pith’s overall catalogue: thoughtful and tapered production. Every element is purposeful and polished with enough room to breathe. When fusing electronic beats with guitar parts and poppy, melancholic vocals, it would be an easy out to over produce or to cram convoluted, excessive texturing into the track’s tight two minutes. The use of restraint is impressive, and allows the duo to shine in their respective lights bound by their synchronistic veil of tone, mood, and sincerity.
The most intriguing element of “Gold Chain” is also my only hangup, but because I’m so intrigued it’s more of a curiosity than criticism. The abrupt ending infuriated me at first. One second I was swaying my hips in my office chair feeling compelled to text my boyfriend something sexy and sappy (something I think Gosh Pith intended to promote) and then suddenly the song dead ends with a dreamy reverb guitar strum. I felt sort of abandoned. Upon a second and third listen I realized my anger was with wanting more. Not because they didn’t give enough, but because the story felt real enough to care. I eagerly await the second act, wondering if they’ll pick up from where they left off.
