COUSIN MOUTH: INTERVIEW


by mariah estran

photo courtesy of cousin mouth

photo courtesy of cousin mouth

Through living life, we’ve all developed a past formed from numerous experiences. It’s what makes us human, by shaping us into dynamic individuals. For the psychedelic R&B group Cousin Mouth, they’ve found beauty in that concept, conveying it in their latest single and beautiful visual for “New Memories.”

The track is magnetic due to its soulfully striking guitar chords that emphasize Alex Burns' rich vocals as gentle backing vocals bring in an angelic tinge. And the music video only elevates that tone — multiple characters are introduced to represent Burns as he views them through a window of a moving car. A compelling preface to the storytelling and experimental sound to come from their upcoming album MayflowerPeacemakerHolyredeemer

Cousin Mouth took time to speak with us about “New Memories," how they have found their sound since working on their first album Medusa, and what listeners can expect for their sophomore LP. 

You’ve recently released “New Memories." What’s the story behind this track?

Cousin Mouth: “Well, without naming any names [laughs], a lot of it comes from my reflections on a shall we say sort of rough conversation with a former partner of mine. I draw a lot of my lyric writing and subject matter directly from my life, conversations, and experiences and things like that, so I guess I’ll just say there’s a few direct quotes in there [laughs]. More broadly though, I was looking to reflect on the ways in which our past conflicts, past selves and experiences have a way of inevitably resurfacing in ways we sometimes don’t expect, often for better but sometimes for worse. Relationships can become very strange battlegrounds when things bubble up from our past or habits creep in where we don’t expect or realize.”

 

You have this unique, psychedelic R&B sound. How have you developed your sound for your recent releases?

CM: “A lot of it comes just from what I’m generally listening to and how I’ve been writing the last couple years. I knew after our first record Medusa that I wanted to work more with the musicians I’d been performing for shows with in a more stable live-band-type set up and had been pretty much constantly working on the new stuff while finishing the first record. I think I was just interested in creating something that was both very visceral and personal, but also sort of big sounding and theatrical in a way. I also wanted to make a body of work that kind of adopted some of the more left field pop influences I generally look to, Todd Rundgren, Prince, D’Angelo or the Isley Brothers. They all have a way of writing that are obviously incredibly listenable but at the same time very complex and intricate and draw a lot from jazz or funk or blues in subtle or not so subtle ways. I’m a giant Alice Coltrane fan and also had been listening to a ton of Bjork when writing some of this so I think some of the more special or weird sounds or structures come from that too.”

 

You’re recently released the music video for “New Memories.”  What was the inspiration for this visual?

CM: “I had intended this video to be a sort of visual center piece for the album. The characters in the video are meant to be reflections of myself, or different aspects of my creative personality. The title of the album itself is a jumble of the names of all of the characters in the video, kind of like Ziggy Stardust, I had intended the album to be conceived from a different sonic or thematic space for each track in some way. And with the video I thought it would be a cool idea to force all of these characters into the same physical space. As I mentioned, I wanted to express a sort of theatricality with this record, so I came up with all of these costume characters to represent different aspects of the music or the themes or voices I think the record conveys. The track itself again is a reflection on how we interact with different parts of our past and how they come to the forefront in unexpected ways, so I felt like the song was a perfect fit.”

 

Your next album, MayflowerPeacemakerHolyredeemer is about to drop. How does this LP showcase your growth from your debut Medusa?

CM: “I’d say for me the biggest improvement has mostly been in my abilities as a bandleader and songwriter. Writing with the intention of translating a solo guitar and vocal song for a live band with drums, bass, keys, background vocalists and sax or flute is a new and strange skill I’ve begun to learn through this record. For the first record, since I was working with my brother Donald Lee Roland II, his production abilities and incredible vision sort of acted as a writing partner because I was able to basically just work alongside him in the process of shaping the songs from a musical standpoint. With this record, I really wanted to force myself to visualize and communicate all of my ideas to a full band, as well as challenge myself to do the work of seeing the project all the way through by myself from start to finish. Like really be a part of each step from tracking to engineering to packaging. It was definitely a process and a pretty steep learning curve sometimes [laughs], but I think people will feel that it’s a pretty unique vision I was trying to convey.”

 

What do you hope listeners take away once they listen to this upcoming album?

CM: “I mean, I mostly just want people to like it [laughs]. Honestly though, I truly think it’s a pretty unique listen and I can’t really think of too many other projects that sound like this one. With really everything I write or create I try and convey an honesty and realness that I think helps make for a pretty direct experience in listening, lyrically, sonically, the whole thing. I think every song on this record in some way speaks to a very real human experience, sure they may be particular to me or my experience, but I think the album is a good point of meditation on a lot of the pretty basic things we all go through in relationships, and life and stuff like that, hopefully it helps.”

 

Lastly, you have such a stellar creative vision for storytelling through visuals. Will there be more music videos in the works?

CM: “Definitely. Not to spoil anything, but I’m riding a horse in the next one… [laughs]. It was my first time riding one, but I gotta say, I’m converted. In the meantime, the album will be out end of February and our vinyl presale ordering started the same day as the ‘New Memories’ video release. Things are definitely happening regardless though [laughs].”

 

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CORVYX + JOEY DEAN: INTERVIEW


by pankhuri bhutani

photo courtesy of corvyx and joey dean

photo courtesy of corvyx and joey dean

After successfully collaborating on their covers of Christina Aguilera and A Great Big World’s “Fall On Me” and Lord Huron’s “The Night We Met” respectivelyqueer couple and independent recording artists Corvyx and Joey Dean are back again with a completely alluring rendition of Miley Cyrus’ Night Crawling” featuring Billy Idol off of her wildly successful new album Plastic Hearts

This iconic release marks their third collaboration. The track which was released on January 21st (Corvyx’s birthday) has already amassed over twelve thousand listeners in just a span of over two weeks.

We recently caught up with the talented Corvyx and Joey Dean in order to discuss some insights into the making of the track as well as what fans can expect from their upcoming collaborations.

Hi there, thank you for joining us on Unclear! Let me start by talking about your recent cover of Miley Cyrus’ “Night Crawling.” How did the idea of covering this track initially come into existence?

Corvyx: “Actually, we decided to film an album reaction to Miley’s newest record ‘Plastic Hearts’ on my YouTube channel and the response to the video was overwhelming. Additionally, we both genuinely loved most of the album and a few tracks were practically begging to be covered. We asked the viewers of the reaction video if they’d want to see a collaboration from the album and our decision was clear. This new era of Miley spoke to our musical taste as we both love the sonic qualities and and nostalgia associated with the 80s and 90s. The rock and roll high energy of ‘Night Crawling’ was exactly what we were looking for, as this was our third collaboration and the previous two (‘Fall on Me’ and ‘The Night We Met’) explored the emotional, vulnerable side to our music.”

Kindly walk us through the creative process behind the song. Did you face any sort of challenges during the production stage of the track?

Joey: “We knew we wanted to keep the energy Miley and Billy Idol originally created for this track and push it even further into the depths of synthwave, 80s nostalgia with a bit of contemporary flare. It may seem easy to create productions that emulate the same energy as the original, but it could actually sometimes be more challenging than changing the production entirely because you have to navigate paying homage to the original vibe and energy of the track and still give it your own spin. We knew where we wanted to take this. We thought ‘The Lost Boys,’ but 2021.”

This marks your third collaboration together. How would you describe the overall experience working with each other like?

Corvyx: “Joey and I practically share a brain. We spitball ideas off each other easily and we’re both MOSTLY willing to compromise on any artistic decisions that need to be made... (Ok, fine. I am usually the one that’s a bit more of a stubborn control freak), but in the end we always wind up loving what we create together. Every project we have worked on together has been received incredibly well by our supporters and strangers alike, and that always helps to make our decisions to collaborate even easier.”

If you both could describe your music in one word, what word might you choose?

Corvyx: “Ethereal.”

Joey Dean: “Nostalgic.”

Where do you draw your major musical influences from? If given an opportunity, who would you like to collaborate with in the future?

Joey: “We both draw from many genres and eras of music. Many of our sonic qualities and visual references/aesthetics can be traced back to the 80s, 90s, and mid 2000s with a futuristic cross section. Future collaborations? I would sever his limbs to collaborate with Lady Gaga and ironically, Miley Cyrus. Corvyx would sacrifice 7 virgins and a goat to create with the likes of Sia, P!nk, and/or Maria Brink (of In This Moment).”

What are the top three things on your bucket list regarding 2021?

Corvyx: “1.) 100K YouTube subscribers. 2.) Original music. 3.) New creative collaborations.”

Joey Dean: “1.) Releasing bangers. 2.) Killer visuals. 3.) Performing live (even if virtual).”

Q7) How are you coping up with the current unfortunate pandemic? Is there anything you are presently doing in order to maintain your creativity?

Corvyx: “We have both accepted that this could be our way of living for quite some time and the only thing to do is learn to work and live through it. Having an incredible group of people that support us virtually has made this weird, stagnant time much more bearable. Joey had to adjust a bit more than I had to because most of his career had taken place touring and performing at venues prior to the pandemic Most of my career as CORVYX had been established virtually and on my YouTube channel, so Miss Rona didn’t affect me too harshly (which I’m grateful for!). We have maintained creativity through the same outlets that inspire us all; other artists, films, books, living and experiencing life, and trying to make our younger selves proud.”

What’s next for you two? Is there anything that you would like to hint your fans regarding your upcoming projects?

Joey: “We always have ideas that endlessly fill our heads and eventually come to fruition. And the ideas we have for this year are BIG. Expect new music. New visuals. More collaborations. And live(ish) performances... possibly together. ;-)”

Lastly, is there any message that you wish to convey to your supporters from all around the world?

Corvyx: “Keep questioning the world around you and may that curiosity keep the embers of inspiration burning through even the strangest of times. Stay honest, humble, kind, and always listen to your guts. And one more thing: thank you.”

 

'SURFACE TENSION' / GENEVIEVE STOKES: REVIEW


by emma schoors

photo by abbie pitre

photo by abbie pitre

Surface Tension” by Genevieve Stokes is a melancholy tune that cuts right to the heart.

“It’s all on the surface, it don’t hurt anymore,” Stokes sings repeatedly, in a sort of cleansing chant. This is a common theme in the track. Though the lyrics reflect a genuine struggle, everything about it feels gorgeously simple. In keeping with this lyricism, Stokes sings, “Am I the perfect picture that you wanted before?” Though the vocals are calm and crisp, this is undoubtedly a song you can scream to. Echoey guitars and percussion help deepen and build up the sound during the second verse, but the bones of the song are enough to make it magical. 

Putting visuals to a song can help listeners with the overall intended message of a song, and the accompanying music video for “Surface Tension” does just that. With an emphasis on fluidity and the beauty of nature, there’s a dark and weary element to the video, but it’s beautiful and sensical all the same. 

Genevieve Stokes has a distinct talent for writing gut-wrenching songs, and “Surface Tension” is worth its weight in gold.

 

'SUPERGIRLS' / HILLARY ANNE: REVIEW


by lauren kovolenko

photo courtesy of hillary anne

photo courtesy of hillary anne

What is it like to be transported right back into the 80s? Here you find out from Hillary Anne's newest single, "Supergirls." A true blast from the past, with just the right energy to get your head bopping. Even if you weren't a teenager during this time, Hillary brings a sense of clarity for that feeling. With some melancholy voices in the background, as well as some hip-hop beats and wordplay, we get a sense of modern time too. A well mix of sounds and imagery.

While pandemics do not permit parties at the moment, when we return, you'll want to add this song to your next get together playlist. The last minute of the song brings a sense of nostalgia like the end of Sixteen Candles. That feeling where you feel limitless and free — that is this song. Expect this song to bring you a sense of carefree energy we have all been longing for recently. Being released at just the right time, perhaps it could even encourage us to be as diverse as the sounds on this track.

If you are looking to find any of Hillary's other projects, check her out on Spotify. Here at Unclear Magazine we wish her the absolute best in her career to indeed, be a Supergirl.

 

DARK SIDE OF LIGHT: INTERVIEW


by mariah estran

photo courtesy of dark side of light

photo courtesy of dark side of light

Moist, an adjective that has gotten quite the hate due to its ability to make someone squirm the second it rolls of the tongue. However, one alternative duo, Dark Side of Light, gave it a funky makeover by using it as their new song title.

Moist," is the sexy-little-number that introduces their well-developed, eclectic sound, and witty lyricism. They put listeners through a psychedelic trance by integrating groovy bass loops with distorted guitar licks – making a memorable release, to say the least.

Earlier this month, The Dark Side of Light took the song to new heights by dropping a corresponding music video. The visual considers how men handle the concept of femininity. Frontman Nik Frost dons dramatic face paint completed with light-catching jewels as cool-tone hues fill the room. It’s the perfect way to burn themselves within a listener's mind, and they’re just getting started.

We spoke with Dark Side of Light about “Moist," how they have developed their addictive sound, the story behind the music video, and what they are planning next.

You’ve recently released “Moist,” a track that showcases an alluring alternative sound by integrating groovy beats with distorted guitar. What was the creative process like while developing this track?

Dark Side of Light: “We took two drummers and put them into a room together and had them jam to this sick base loop recording it live with a stereo mic. It sounded almost like samba or something which opened up the song to a whole new world. The actual audio at the beginning of the track is us playing live in the rehearsal space. I think what we created is one of the best tracks on the record.”

 

The title of this track is a word many find displeasing. However, you were not scared to go with it! How did you decide this was the name to use?

DSOL: “We're decidedly an alternative project and go, for the most part, for what makes us happy as musicians. The project has never been built around the idea of having any kind of real popular success. If it were to come, great, if not, that's great too. We make dope shit we love. We were having such a difficult time with quarantine at the beginning, we needed to make music and really wanted to do something that we thought was cool. The baseline and the vibe of the song was so dirty, I wanted a raw title that alluded to something that was a bit provocative and mildly offensive. It feels like that word has those attributes and works in those capacities.”

 

You have now released the music video for “Moist."  What was the inspiration for the visual, and how does it reflect the track?

DSOL: “I'm absolutely in love with Grant's drum performance on this track and I wanted to visually feature the groove and the drum fills in the body of the video. There's something called ‘the fulcrum’ that great drummers engage for a feel and this song is a perfect example of a drummer at his best laying down a groove that makes a song work entirely. The base loop was nothing until Grant played on it. As far as the art direction, I've always been into surrealism and that type of psychedelic mode of expression. The band and players are basically in a dead, empty, negative space presenting themselves in these different colored lighting elements. It's all about human performance. There's also a female/male duality that obviously comes into play here which Alaina Wilson and Mollie Adamson helped portray. For centuries, in different variances of hermetic magic and ancient cultures, women are thought to present the moon, the darkness, ‘mystery’ or ‘the unknown’ and men are thought to present the sun, light, ‘knowing.’ I've always thought this was hilarious as these concepts were all conceived by men who did not understand women because they were not women and generally afraid to face their own femininity, making women dark, mysterious creatures. Me, putting on the makeup and purposefully using sequins and metallic make-up as a kind of ode to glamour was a quiet form of purposeful emasculation. We're currently inundated with images of men running rampant in our culture, buying gigantic pick up trucks and guns, beating their chests while they comb their beards. I thought it would be fun to take a different approach to how I presented myself as a man in today's popular culture. During all of my posturing, Grant's just being his cool ass self...”

 

Why was this song the perfect introduction to who Dark Side of Light is?

DSOL: “The song just feels right: it has these extra bars that don't belong. The chorus is essentially me repeating the word ‘two’ a couple of times over a period of bars that, in a traditional sense, is way too long. It is not ‘traditional’ song writing, it's ‘interesting’ songwriting. It doesn't emanate from subby hip-hop beats or acoustic guitars, it emanates from this dirty ass, rubbery sounding, wicked baseline. Dark Side of Light isn't supposed to be groundbreaking, but it's not supposed to be traditional. It's supposed to be fun and natural and what we find interesting as artists. This song encapsulates these ideas perfectly.”

 

How did the band find such an engaging sound? Who have been some musical inspirations?

DSOL: “Firstly, thank you very much for the compliment. I like to think it's engaging as well. I grew up in the electronic music scene in Europe and when it became vastly popular, lost interest in it and started working with live musicians in a more traditional musical environment. After a lengthy period of time doing that, I temporarily lost interest in it and wanted to do something from a completely different perspective. Two guys staring at each other with guitars, bores the shit outta me. When Grant and I started making music together, we wanted everything to be different, and to answer your question, it is different because everything emanates from drum performances. Grant would sit down to play and I would say, ‘Play some dope shit that you wish you could play to a song that doesn't exist.’ I guess that's why it truly is different. Some of the bands/projects that have informed our sound are Roy Ayers, Massive Attack, Tame Impala, Ariel Pink (not so much now that he's showing up at Trump rallies) CSNY, Beach Fossils, etc.”

 

Lastly, what can you tell us about what you’ve got planned next? An EP or an album?

DSOL: “We are always creating so we definitely have at least two albums of material currently recorded but plan on dropping a six song EP before releasing an LP out of respect for the modern listener's ability to take in new music.”

 

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