'AWAKE SLEEPER' / AMY JAY: REVIEW


by brittany and everly ormiston

Indie-folk artist Amy Jay delicately crafted her first full-length album, Awake Sleeper, released on February 11th. The body of work was influenced by her day-to-day life in New York City, and serves as a time capsule with memories captured prior to the pandemic. Despite being written and recorded a few years prior, Awake Sleeper is undoubtedly one of the most pertinent albums to date as Amy unfolds layers of vulnerability, nostalgia, and desolation throughout her art.  

The album begins with the sound of a subway car barreling down the tracks accompanied by a soft piano riff, which quickly whisks you into Amy’s headspace. In “Lucid Dreaming,” Amy recalls memories of her childhood after smelling sunscreen on the train. Her hypnotic vocals and mystical instrumentals create a listening experience filled with floating on clouds, and spinning around in the sunlight. The opening instrumentals of “Reliance” continue this aura, which catches and maintains listeners attention from the get-go. Amy illustrates having that special person by your side who always makes you feel better, while at the same time thinking, “Do I rely too much on you?” in the back of your mind. The album begins to go a different direction, and falls into a pit of despair and melancholy.

“Commute” was written from Amy’s perspective while traveling to work on the subway, and noticing the strangers around her immersed in their phones. She immediately realized she was alone with her thoughts, and knowing even if she screamed no one would hear her. During the bridge, the intense instrumentals and lyric “Can I get a word in?” reiterates how silence is deafening. As the vocals and instrumentals fade, it feels as if the subway car is disappearing into the distance. Listeners are drifting slowly into their own mind, similar to Amy while on the subway. “Call My Name” is a mind-boggling track that appears on the surface level as a fight with someone else. The lyric “Why do you call my name? / Are you satisfied with the choice that you’ve made?” expresses anger and pain towards said person. From another perspective, this song could be seen as a fight within yourself and the struggles dealt with on a daily basis. 

Amy dives a bit deeper with the tracks “Inner Critic” and “Monster,” and creates a hauntingly beautiful representation of internal battles within the mind. “As the arrows slip from my bowing hand” is used as imagery to describe being her own worst critic, and how it is an extension of herself. Amy leads on to describe the monster that has made a home inside her head with the sound of a ticking clock in the background. The instrumentals create an eerie vibe of uncertainty, fear, and sadness. This track hits deep for listeners who fight battles with their monsters of anxiety, depression, and other mental health conditions. 

“Bide My Time” appears almost as a pivotal moment for the album. It describes the point in time where you are at a crossroads, and are just waiting around for an ideal moment or situation to reveal itself. The mesmerizing instrumentals followed by “At least I could say, I guess I tried” offers a slight glimmer of hope. The next few songs are quick to snap listeners back to reality by reiterating there will be difficult moments throughout the journey of life. Amy’s vocals in “Sorrow” are echoed by a whistle similar to the mournful song of a bird. “Remember” then follows with the reminder of  “...no one told us it was easy,” yet transitions to an outro that is majestically uplifting. This sets the stage for the last and final track of the album, “Self-Deprecation,” which is stripped down to an acoustic guitar and Amy’s vocals. The breathtaking yet gloomy intro, and the lyric “It will rain, but I’ll still take my chances,” is a gentle reminder to keep going despite obstacles and bumps in the road. As the song continues, there is a gradual transition from a rainy, somber outlook to a sunny, optimistic outlook on life itself. 

Awake Sleeper is unapologetically honest, elegant, and resonates deeply within the mind, heart, and soul. From “Lucid Dreaming” to “Self-Deprecation,” Amy takes listeners on a fast-paced subway ride that is so captivating no one wants to get off.     

 

'I WENT TO HELL AND BACK' / AS IT IS: REVIEW


by sierra romano

Pop-rock trio As It Is have released their fourth studio album “I WENT TO HELL AND BACK” on February 4, 2022, and I’ve had it on repeat ever since! With a run time of 40 minutes, this 14-track album certainly has a lot to say, and it sounds like the band has finally reached their defining sound. Although it is not a concept album, it is still very cohesive. Vocalist Patty Walters, guitarist Ronnie Ish, and bassist Alistair Testo have touched on some deep topics related to mental health while combining classic pop punk with modern alternative sounds.

“IDGAF,” the first track, really sets the scene for the direction the album is going in. With “My mind’s been where no mind should go” as one of the opening lyrics, Walters is already being extremely honest. The next four tracks continue this theme of just laying your raw emotions out on the table and serve as a reminder that it is okay to not be okay. “ILY, HOW ARE YOU?” and “IDC, I CAN’T TAKE IT” (tracks 3 and 4) go hand in hand as a call and response. Track 3 is written from the perspective of a friend checking in on you. They are encouraging you to express your feelings and, most importantly, remind you that you are not alone. On the flip side, track 4 is a very upbeat and freeing song. It feels very cathartic.

Following the high energy, “I’D RATHER DIE” is the first song on the album that has a slower rhythm. A comedown from “IDC, I CAN’T TAKE IT,” this song is more of a realization that sometimes mental health can take a physical toll on you. “I gotta get up / I gotta get over it / I’m gonna give up / God I’m so over it” — The repetition of these lyrics drives the idea that dealing with any mental health related situation can be exhausting.

Single “I MISS 2003” appears as track 6 and it has the perfect amount of emo nostalgia. With references to bands such as New Found Glory and My Chemical Romance (and about 13 others), this song allows you to reminisce on simpler times, or more likely your teen years. This song was also released with a very energetic performance-based music video. Returning to the main theme of the album, “SICK AND TIRED” has a similar vibe to track 4. Here the band is unleashing the very relatable frustration of not feeling understood.

The second half of the album gets even darker. Tracks such as “I WANT TO SEE GOD,” “I HATE ME TOO,” and “I DIE 1000x” are so open and blunt. It is not easy to admit if you are not in a good headspace, but these songs do so effortlessly. “IN THREES” features vocals from Set It Off’s Cody Carson and artist JordyPurp. This song also mentions how destructive it is to let your emotions build up. “Pack up all my problems ‘til they sear inside my brain / Can’t tell pain from pleasure, but I know they’re not the same.” This song also stands out on the album as it has a colder and more edgy tone to it.

“I CAN’T FEEL A THING” is another track that hits pretty hard on this album. “It’s like I’m losing the fight / It’s like I’ve already died” are such defeating lyrics. The album closes with title track “I WENT TO HELL AND BACK.” A softer song with a beautiful instrumental, it just feels like a warm hug. After a track list as dark as this seems the album ends on a bittersweet, yet uplifting note. There is a light at the end of the tunnel and this song is the perfect representation of that. After all, the album is titled I WENT TO HELL AND BACK, meaning that no matter how dark a situation may seem, there is always hope and you will get through it.

I WENT TO HELL AND BACK is out now on all streaming platforms via Fearless Records and As It Is are currently on the "Welcome to Elsewhere Tour with Set It Off, Stand Atlantic, and No Love For The Middle Child.

 

'STAR SIGNS' / ROMAN AROUND: REVIEW


by mariah estran

Casual astrology talk is inescapable these days. There are extensive Twitter threads to articles categorizing fictional characters by their moon signs – it is everywhere. For American rock group roman around, they’ve noticed the shift in the narrative; their latest single – appropriately titled “Star Signs” – dives right in.

“I started noticing trends in the way people around me were using astrology. It seemed to become less of a spiritual experience for people to find themselves and more of a rubric to judge others and avoid responsibility,” lead vocalist Roman Rivera says on the single. “Like I'm not a bad person because I'm a Sagittarius, and you're not a bad person cause you're a Pisces. Each sign is beautiful and the possibilities for your potential are endless!”

The four-minute track opens with a celestial-type charm as fuzzy guitar chords swiftly move in. Rivera’s emotive vocals glide over the raw, layered production as the lyrics ring: “You can blame it on your star sign and forget what you’re made of.”

Produced in their at-home studio, this compelling tune features a medley of peculiar sounds, a fortuitous wind chime sample (thanks to their dog), and even a discrete elephant noise. Each intertwined into this supernal sounding view on the tangled perspective of star placements.

It’s a gaze into a form of divination and a launch into the transcending galaxy of roman around.

 

TRIBE FRIDAY: INTERVIEW


by mariah estran

photo by miranda fredriksson

“One thing we have in common is all three of us were emo kids,” Tribe Friday vocalist Noah Deutschmann reveals about the band. A three-piece alternative-pop group, taking listeners on an electrifying ride of bubble-gummy aesthetics, complete with a grunge tinge. Think thick eyeliner, a My Chemical Romance tee, and studs. The epitome of mid-2000s alternative teenage angst.

“I was raised in a small Swedish town,” the singer explains. “You could play sports, do drugs, or you can play music. We had a small group of kids who didn’t fall into that category, which meant we were like five or six kids running around with the makeup and listening to that (emo) music.”

Emo has been considered a subculture of its own. From the emotion-heavy, belt-your-heart-out lyricism to the fashions the era inspired, it was a moment in time that existed in many adolescent lives. “For me, more than anything else, the emo scene was a community and finding a place to belong,” Deutschmann explains.

That sentiment has not become lost through the stages of growing up. Instead, Tribe Friday is creating a haven for those rebellious souls. It’s just now, done with their music and performances.

Releasing their single “forward is the way out,” and most recently, “for real?,” they’re cementing their genre style while giving a sneak-peek into the essence of their upcoming album, Bubblegum Emo

“'forward is the way out’ is the intro to the movie before the record scratch, freeze-frame kind of thing,” he says. Fuzzy guitar chords roll into a crisp drum beat as Deutschmann boldly calls out: ‘Everyone is dead.’ In just under three minutes, listeners are descending into a polychrome vortex. The track's highs and lows suit the lyrical content – the uncertainty of emotions. “I feel like that sort of became the spark that lit the record, I suppose,” the singer adds.

Bubblegum Emo became the product of processing the chaos brewing inside one’s mind, specifically within these unexpected pandemic years. And it’s without a doubt that some might find it relatable. “I guess in my mind, the entire record is about – you know, this self-detrimental stuff that’s not very good for you, but you want it anyways. Then, it ends up ruining your life and your relationships. An artistic endeavor or a drug, something of that nature.” He describes, further explaining that major shifts occurred amid writing in the 2020/2021 chaos. The band itself was going through different revisions. New members added, Isak Gunnarsson and Robin Hanberger-Pérez, as Deutschmann was experiencing turning points of his own – graduating and leaving his hometown.

“Once the pandemic hit in March or April, we finally had time to plan and process the whole thing,” he describes. “I think you can hear that on the record. You can hear my descent into madness and then back out of it. It was an isolated process. I was in the studio for about a year doing nothing else.”

They’ve released two EP’s prior, Chasing Pictures and Waiting For A Sign, which they label as “trying to figure out” projects. Which, for any up-and-coming artist, there’s a level of experimentation. “All the previous projects were mix-match songs from different periods, different studio sessions, in between shows, school, whatever was happening.”

Yet, in a matter of two years, they have watched a steady trajectory, even throughout a time of distanced interactions. The group adjusted to livestream performances – filming TikToks and releasing electrifying singles. For instance, this October, they posted their take on a Spiderman theme, an "emo spidey" rendition. After much praise, it quickly became available on streaming platforms. So, when it was time to perform again, things changed. “Now, we have a community,” Deutschmann spells out. “Now, playing shows, people show up with Tribe Friday tattoos. That’s been the craziest part because we’ve only interacted with people digitally. You don’t grasp what’s going on when doing that (livestreams).”

The live footage music video for “forward is the way out” documents growth in the fanbase. They’re lining up outside venues, carrying that energy into the crowd. There are mosh pits alongside head-bobbing, as Deutschmann becomes supported after jumping into the crowd. An evident affection towards the universe the band is creating.

photo by miranda fredriksson

Tribe Friday has found their space alongside the fans. And with Bubblegum Emo racing towards its official release, the collective will only grow stronger. There’s fresh confidence in their work, stemming from new certainty in production. But, that imagery, that sound, oozing in whimsically alternative hues is a homage to what once couldn’t be done, at least for this trio.

That smudgy, black eyeliner, punky plaid paired with fishnet is whole-heartedly – them. “The stuff I am wearing on stage now is pretty much what I wanted to look like when I was thirteen years old,” says Deutschmann. "I think it’s about being nostalgic and doing the things that maybe we didn’t have the opportunity to do when we were younger."

In a sense, the album and the band are making up for some lost time. A full-circle scenario that could impact a listener, similar to what the emo-greats did for these three. “I feel like, that’s why we create music – to connect with people,” the singer states. “We want to have that sense of community. It’s that same thing – the emo thing. It’s the same experience.”

 

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KELS: INTERVIEW


by pankhuri bhutani

photo courtesy of kels

Hailing from Germany, KELS initially started penning down tracks merely at the age of 13. Last year, she released her highly anticipated debut EP Slow Ryde, showcasing her unique vocal style and versatile songwriting.

KELS is a new wave neo soul singer-songwriter and artist with a background in jazz. Growing up, she was heavily involved in choir, singing at church and in jazz ensembles. She debuted her original music at a series of music festivals in Pittsburgh during the summer of 2021, headlining at The Three Rivers Arts Festival, Millvale Music Festival, Picklesburgh, and opening for Kat Wright.

We recently had a wonderful chat with KELS in order to talk about her music journey, where she draws her major musical influences from and what she has in store for her future projects!

Hi there, KELS. Thank you for joining us on Unclear! How has the beginning of 2022 been for you so far?

KELS: “Of course, thank you for having me! 2022 has been great so far — just writing a ton of new music lately that will map out my year. I’m very excited for what 2022 has in store!”

Before delving into your phenomenal music journey, I’d like to ask you what it was initially that brought you closer to the field of music? Did the passion come in early or did it develop at a later stage in your life?

KELS: “I have been singing since I could talk, really. My dad is a singer as well and he made music a huge part of my childhood. We spent hours singing in the car on long rides — all types of music. He introduced me to greats like Andrea Bocelli, Sam Cooke, and Johnny Cash. I was very shy as a kid so I didn’t sing in front of an audience until around middle school, other than in choir. Even when I did sing in front of people it scared me so much, my mouth would close up and I wouldn’t look at anyone! I’m self critical and a perfectionist, so I was just overthinking my voice as a kid (I didn’t know what to do with it).

I started writing songs on a keyboard at 13, and started performing often at coffee shops and festivals by 15. Music came naturally to me, especially songwriting. I didn’t realize how powerful that skill was until I grew up a bit. Jazz was my go to genre in school — I loved scatting and improvising at live performances. Ella Fitzgerald, Sarah Vaughan, and Billie Holiday set the standard for my vocal ability — I wanted to sound like them as a teen. I sang in many jazz trios and ensembles. By my senior year in high school I was chosen as one of ten girls statewide for the state vocal jazz ensemble. 

My jazz foundation has helped me in my artistry to write better, more complicated melodies from an early age. Fast forward to the body of music I’m currently releasing — it’s so fulfilling for me. I didn’t want to release original music until I knew my sound and my style, but now I’m here.”

You recently released your debut EP Slow Ryde. Huge congratulations on that! What was the inspiration behind it and how did the general creative process go about with this project?

KELS:Slow Ryde as a concept really took shape over the summer when I was performing a lot of unreleased music at festivals. I only had a few songs out, so I needed to debut some unreleased music to fill my performance times. There were three distinct songs that the crowd gravitated towards when I performed — which ended up being the three songs I chose to record for the Slow Ryde EP.

All three songs are love songs. The overarching message in the title is that love is best when we take it slow. Starting from top to bottom on the EP I describe feelings of love at first sight in ‘Slow Ryde,’ to the honeymoon phase in ‘Down 2 U,’ and end with the tough decision of figuring out if it’s meant to be in ‘Just Let Me Go.’ I wrote all three songs and worked with two different producers who know me and my sound really well — Ryan M Tedder and Jacob Spitzer. The vision was easy to bring to life in the studio because I’d performed these songs so many times so I knew exactly how they should be sung. 

The whole process flowed from spring to early fall pretty seamlessly all the way up until the November 29th release date (which is my birthday by the way!).”

Slow Ryde has garnered such a tremendous response so far! How does it feel to know that your debut EP in itself has gained such an influence?

KELS: “It’s crazy. I couldn’t have asked for a better debut EP release. I have connected with so many new artists and listeners because of the Slow Ryde EP and it’s only been a few months since its release. I’m extremely grateful to all the people supporting my work and sharing my music with their networks. It’s been a beautiful thing to experience the organic growth of this project.”

Out of all the songs within the EP, which track stands out the most for you and why?

KELS: “That is so tough. It changes day to day if I’m being honest! It also depends on my mood. ‘Slow Ryde’ overall is a song I play when I’m feeling good and need a soundtrack to my joy. I can’t not groove when I hear that one. The production is bouncy, golden and vintage — instant good vibes. If I’m talking from my artist self — ‘Just Let Me Go’ is the track that represents the edginess and grittiness of my soul. I put so much emotion into that song so it is hard to ignore it!”

Where do you garner your major music influences from? If given an opportunity, is there anyone on your radar who you would absolutely love to collaborate with in the future?

KELS: “There’s so much that makes up my musical background. Like I mentioned, I started out singing jazz standards so the greats inspired my voice early on — Ella Fitzgerald, Sarah Vaughan, Billie Holiday, Nina Simone to name a few. The songwriting and mix of jazz, neo soul, and pop Amy Winehouse perfected in the music industry greatly inspired me as well.

I’ve always been drawn to the sound of strong female vocals — Jazmine Sullivan is another huge influence, Mariah Carey, Alicia Keys, and of course the songwriting and vocal genius Ms. Lauryn Hill. It would be a dream for me to collaborate with Jazmine Sullivan. Her talent inspired my voice and songwriting and shaped it into what it is today. I admire her sincerity and prowess on stage and in her records — she emulates soul. Career would be made if that happened!”

I know everything’s a bit uncertain at the moment, but do you have anything on your bucket list regarding the year 2022?

KELS: “Yes! It’s true, there is no telling where live shows will be. Aside from that, my biggest goals this year include releasing a full length album, singing on A COLORS SHOW, and collaborating with some large artists.”

What’s next for you, KELS? What can your fans expect from your upcoming projects/collaborations?

KELS: “I can’t say much for now, but I can only promise that the music is on the way! Slow Ryde is only the beginning.”

Lastly, is there any message that you’d like to convey to your fans reading this interview?

KELS: “Thank you for supporting my music, I can’t do it without you! Stay tuned for a new release very, very soon.”

 

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