BUSTER BAER: INTERVIEW

February 25, 2022

by mariah estran

Retro-indie artist Buster Baer started off the new year by releasing his new EP, Mock Twang. Four track's archiving turbulent lessons a relationship can evoke, while coincidingly expressing thoughts found within the unusual years of a pandemic.

It’s a body of work that showcases a polished production upgrade — as it draws from topics that are somewhat disarray. From “Gone Fishin’,” created while spending time with family on a Christmas getaway, to “In His Image" — taking shape after a life-threatening accident. The EP is a peek into a personal journey, wrapped in a groovy tinge, and complete with smooth vocals.

Buster Baer took the time to tell us about Mock Twang. He shares more on the moments that inspired the collection, production, and how the EP represents him as an artist.

You've recently released your EP Mock Twang. The project was written mostly throughout the lockdown period of the pandemic. How did creating this record help you process your thoughts and emotions?

Buster Baer: “Oh God, just having something to obsess over is so sexy. I tweaked those knobs all day and all night.”

The EP title is a play on Mark Twain, and the album art coincides. What drew you to that name and source of inspiration?

Buster Baer: “The ex the EP is sort of based around used to make fun of me ‘cause I wrote a really bad novel when I was younger and I was growing a really thick mustache, so she used to mock me saying, ‘I'm Buster, I'm gonna be just like Mahk Twain.’”

The track "Gone Fishin’" was partially recorded on a canoe. Tell us more about that story and the recording process.

Buster Baer: “My parents were really sad about the pandemic and worried about Christmas, so they decided to blow WAY TOO MUCH money on a ranch for the whole family to make a bubble so we could hang out for the week of Christmas. Everybody was working over FaceTime, so it worked out. The ranch had a lake, and I knew there'd be pretty nature noises, so I brought all my recording equipment. I spent all day on the boat writing the song. It was in Temecula and the adults were all worried about a fire that was close by, and my old dog Pedro (God rest his soul) was having seizures, and everybody was being vague about it in front of my young nieces. So, I thought a lot about innocence, and how the f*** to explain any of this to a child.”

You've been releasing music over the last couple of years, and this isn't your first time releasing an EP. How does this latest release represent where you are as an artist?

Buster Baer: “This EP was a sort of songwriting peak probably. I was really concerned about catchiness and vulnerability. The textures are all retro, without being specific to any certain time, whereas in the past I was really going for specific stuff. I just wanted clean mixes mostly. I think it's clean. It sounds good, you know? It could be better, but it's professional enough that if it was a hit nobody would be disappointed. I'm proud to show it off as a good example of what I'm capable of on a craft level. Now, I'm focused on catching up in time with my generation. And finding magic.”

For you, which song stands out on the EP, and why?

Buster Baer: “I think ‘Get Deeper’ wound up being the best. ‘Sleepy Baby’ was supposed to be, but ‘Get Deeper’ is more fun. A lot of people like ‘Sleepy Baby’ though. Personally speaking, ‘In His Image’ has ‘mattered’ the most. I sang it while on loads of ketamine in the hospital after getting run over at 50mph and I really think it saved my life. Nobody seems to care much about it, but I know God does so I'm happy with it.”

You've just released a quirky video for the track "Get Deeper." What inspired this three-minute story?

Buster Baer: “Gee, I have no idea, you'd have to ask Janelle Brosnan, she's the brains behind that video! I know she was inspired by 70s kids cartoons like HR Pufnstuf etc. She's awesome and I'm really grateful to her for that little piece of art. Hit up ProDuck Productions too!”

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CLOE WILDER: INTERVIEW

February 23, 2022

by emily harris

Cloe Wilder is a pop-star beyond her years. Still a teenager, her discography matches that of the dream-like quality of Marina and the Diamonds and Lana Del Rey. Having recently released her first single of the new year, “We’re Not Special,” Cloe is creating a powerful name for herself. We had the pleasure of speaking with her about the newest release and her future plans!

Congrats on the release of your newest single, “We’re Not Special!” How does it feel to finally have this track out?

Cloe: “Thank you! This song feels like a deep breath and I'm so happy that it's alive now.”

Can you talk about the inspiration behind this song — both lyrically and sonically?

Cloe: “I wrote ‘We're Not Special’ with Sam Nicolosi back in September. It's written as if I'm speaking to this person about all of the reasons why we're exactly like everyone else. There's nothing we can say or do that will give us a better shot at this. It's this complicated mess that makes us hurt. Maintaining relationships can feel so useless to me sometimes. Nothing feels special yet and I think that's okay. It has a warm, earthy tone. We went with that messy and doubled vocal style, which I love.”

You also released an accompanying music video! What was the filming process like for you?

Cloe: “Jesse DeFlorio directed the video and it really held true to my initial narrative. I loved working with him. It was my first video ever shot on film and I don't think I ever want to do anything else. I think it captured the softness of the song itself.”

This is the first track you’ve released since your EP in 2021! What can we expect from a newer, and longer, body of work from you?

Cloe: “Yes! My album's coming later this year! I can hardly wait.”

You’ve also been featured in Spotify-curated playlists! How does it feel to be placed among other great female popstars so early into your career?

Cloe: “Being connected to these amazing female artists is one of my favorite things! I'm in good company.”

How has being so young in the industry affected the way you write and record your work?

Cloe: “Since my age is already hanging over my head, I think I've learned to be extra honest and write exactly what I want to write. There's no point in trying to please anyone.”

What song of yours would you recommend someone to listen to if they’re looking to get into your sound?

Cloe: “Definitely ‘We're Not Special.’ It's some of my favorite writing I've ever done.”

Who would you coin as your musical influences?

Cloe: “Lana Del Rey made me want to be an artist myself. She's always been an influence of mine. More recently, Phoebe Bridgers, Bon Iver, and so many more.”

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'STEW' / A WILL AWAY: REVIEW + INTERVIEW

February 18, 2022

by emma schoors

A Will Away lives in hidden valleys between classic, pop, and alternative rock. They’ve carved their own path in an industry that prods at artists until they succumb to the polished peaks of these musical mountains. Deep in these valleys you’ll find songs like “Montezuma Blue” and “Parachute,” utter rebuttals of typical rock formulas. As a whole, their latest effort Stew stands as a testament to individuality, and a genuine compliment to past projects.

“The Rock” opens the LP, a happy medium between electric and acoustic, though “happy medium” is thankfully the least apt descriptor of the record. Each track exists in its own grassy field, frolicking in the freedom of originality, void of adherence to industry expectation or conformity. Any genre in moderation would have been a boring approach, and A Will Away smartly opts for full-fledged dives into their musical inspirations. Harmonies soar successfully on “Karma,” and “Spittin’ Chiclets” represents an entirely new, refreshing take on darker themes.

Tracks like “I’ve Got A Five” and “Rubbed Out” are noticeably more emotive, and oftentimes deeply personal. “Rubbed Out” notes, “Everyone’s skating the line between man and machine,” which acts as one of the album’s key motifs. While there is a definite focus on relationships and the messes that arise within them, internal conflict is a subject not at all overlooked. Considering how multi-dimensional a song like “Hereditary” is, it’s only right that the rest of the album shares in this complexity, both musically and lyrically.

A Will Away straddles the prickly fence between self-indulgence and selflessness, and Stew is the musical equivalent of this contradiction. It traverses themes of normalcy, emotional intensity, and love, and does so with a stunning sense of self-awareness.

Re-birth, re-up, revisit and rebuild. For how thematically substantive A Will Away’s newest release, Stew, is, the prefix re bears its head on more than one occasion. Recant may be the only of these verbs that need not apply to the Connecticut-based band. They plow through the pain of the past in “Re-Up,” and stand bravely in the face of an uncertain future in “Speechless.” Stew is A Will Away accepting their hand as at risk, and immortalizing it through sound. We caught up with the band to talk core influences, the new album, and what the future holds.

A Will Away’s sophomore album Stew is the band’s latest project. Can you take us through what the initial spark of inspiration for this album was?

Matt: “It’s truly difficult to pin down a particular ‘spark’ of inspiration for Stew. The record is more a culmination of both narrative and sonic work that we’ve been pursuing for the majority of our career as a band.

The aim of the band’s writing, up to this point, has always been to speak openly and earnestly about the human experience, from our own vantage point as Millennial adults living through the ever-changing conditions of the modern era. Stew aims to really dial that concept up to 11, and serves as more of a look back at the last decade of our lives in an attempt to connect who we are now, with who we were when we started this whole process.

There were a number of loose song structures and ideas for this LP kicking around for a few years prior to producing it, but I think that when I put together the first completed demo for ‘Re-Up’ was probably the moment that we knew we had an actual record on our hands, in the sense that Stew’s production started to feel sort of inevitable.”

“Re-Up” is the energetic lead single. Who chose this as the first release from the album, and why?

Matt: “As with every aspect of the release of our music — the decision was a collaborative one between the band and our team. ‘Re-Up’ is the opening track to the B-side of the record and very much gives off the energy of a ‘fresh-start’ (for lack of a better term).

‘Re-Up’ is a song about doubling-down on your convictions and the people you share them with. After living through and producing an LP in a once in a hundred year pandemic — that message felt very appropriate to what we wanted to convey at the beginning of this record cycle.”

Which song from the album went through the most changes before reaching its final form?

Matt: “None of the songs changed very drastically from start to finish — they all just grew into their own naturally and found their footing once all of our individual parts were put together. The one that probably surprised us all the most was ‘Montezuma Blue’ though. I don’t think any of us really expected that song to be as big and boisterous as it ended up on the record, because of how light and floaty it is at its core.

It was written to be more of a humorous take on some unpleasant feelings, and somehow throughout the process of producing it, the song found it’s own unique voice. It lives in a headspace I don't think is often tread over in modern music.”

Songs like “Spittin’ Chiclets” and “Montezuma Blue” feel like big steps forward for the band sonically. Did you pull from any musical influences you hadn’t before?

Matt: “Interestingly enough, we haven’t really ever changed the influences that we pull from when writing and recording. I will say though that Stew is the first of our efforts where we felt completely comfortable in drawing from those influences with no regard for masking them for modern consumption.

We’ve always been primarily influenced by classic rock, 80’s pop rock, and 90’s-Early 2000’s alternative rock — but we’ve also always been very motivated to try and frame those influences in a context that feels more refreshing to modern audiences. In the past we’ve found that framing ourselves as anything other than a loud and proud rock band on record has done us somewhat of a disservice as creatives.

We’ve often found ourselves re-working or re-adapting songs for live settings to better suit who we are as players, and Stew is one of our first forays into recording the renditions of songs that we feel legitimately showcase our unique talents, as opposed to what we think might be agreeable to music industry professionals or fans of our contemporaries.”

Were there any songs that almost didn’t make the record?

Matt: “Yes! ‘Karma’ is a song that very nearly didn’t make the cut when we got down to the wire. In a lot of ways the song legitimately felt ‘too simple’ to be complete in it’s own right, during the pre-production phase. For months we were convinced that the song was unfinished.

There was a particular moment during production where the decision was made to forgo a second verse entirely, and replace it with a melodic guitar solo. On paper this decision felt like a bit of a cop-out from a writing standpoint, but once we tried it out during production it became incredibly clear that it was the only logical choice for that style of song.

Now it’s one of our all-time favorites and we’re very glad that we went with our guts and didn’t scrap it out of fear.”

What do you hope Stew means for the band moving forward? How do you hope audiences react?

Matt: “We hope that Stew will operate as a sort of re-birth for the band. As I stated earlier in this interview, we’ve always tried in the past to use our records as stepping stones to bigger and better things within the narrow context of how things will be perceived within the music industry.

We hope that Stew will allow audiences to finally see us for who we truly are. Warts and all, we feel like it’s the most authentic representation of ourselves as individual players, and of the band as a whole that we’ve ever been able to achieve.

We also hope that listeners will be able to use the record as a mirror for their own challenges and hardships. Hopefully they’ll be able to view that the purpose of digging into some of our more challenging feelings as human beings is to adapt and improve. To find a productive and positive middle ground between wallowing in the difficulties of the past and striving to be happier, healthier, and more true to oneself in the future.”

If you could leave fans with one lyric that sums up the album as a whole, what would it be?

Matt: “The opening lines to ‘I’ve Got a Five’

I’m feeling rough,

but I guess you knew that off the cuff.

And every time I think I’ve had enough,

I get back up,

and keep on ticking.”

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CONRO: INTERVIEW

February 17, 2022

by keion hayes

Subsequent to starting the year off with his angsty, pop-punk-propelled single "feeling," electronic-pop maestro Conro got back to Monstercat with his significant new single. Showing up as the second part in his new sonic excursion, the melancholic single addresses his new endeavors to comprehend and acknowledge his sentiments. The live acoustic guitar impeccably supplements Conro's emotive vocals, coming full circle in an excellent tune that highlight his abilities as a regarded artist lyricist. In this interview, Conro discusses the making of this song along with understanding his artistry. Conro has a lot of new music coming out this year and he is very excited! Conro shares, “I’ve been feeling a lot over the past year and excited to share a bit more of my story with whoever will listen. I love singing this one chilling on the couch with my guitar. The vibe is a little different than what I’ve released in the past, but hopefully in a good way!” We were lucky to talk with Conro, and we are so satisfied to impart it to you.

Congrats on the release of your newest single, “feeling!” How does it feel to have this track out?

Conro: “Amazing, I’ve been excited to release new music this year! Smiling every time I see the support I've been getting for this one. Means so much to me.”

What was the inspiration behind this track in particular?

Conro: “I had been just internalizing a ton of feelings basically. I wanted to share that. I was just chilling on the couch and messing around with the guitar and the melody just happened pretty organically!”

What was the role of music in your early years of life?

Conro: “I always had some sort of instrument available to me growing up. Started playing the violin (not by choice, thanks mom!). But always had some form of musical instrument to play with. Piano/guitar/singing was always such a great outlet for me.”

Who or what inspired you to create music?

Conro: “I think it was a lot of things. But mainly just the love for being creative.”

Do you create for yourself or your fans?

Conro: “That kind of goes hand in hand in my opinion. I create music for myself, pure joy. I can disappear in the studio for days! But at the same time, I wouldn't be able to do what I do without fans!”

What do you enjoy most about being a musician?

Conro: “The freedom of expression. I love getting lost in the music!”

Would you say your style has evolved since the start of your career?

Conro: “Yes, I think that it is important to learn the growth of music created by yourself! I have been doing this for quite a while now and I love listening to my early releases, so cool to appreciate the old and new. Every song is like a journal entry, I know where I was at in life and what I was feeling writing each of those songs.”

Would you agree that it is very important to learn, study, and understand the ins and outs of music when being in this career?

Conro: “I think it's always great in anything you're passionate about to really learn and soak in as much as you can!”

What has been the most challenging problem of your career so far and how did you get through it?

Conro: “I find music to be a rollercoaster of emotions. It’s been so fun but can also be really frustrating when the creativity isn't there. You can't really force it. But I like to focus on the less exciting stuff when I'm a little low on creativity (like arrangements, working on other projects, mixing, and the engineering side of things.)”

What are your plans for the upcoming months?

Conro: “Music, music, and more music. I’m writing and releasing lots this year, and so excited. I can feel it!”

If you were an instrument, what would you be and why?

Conro: “Grand piano, it’s so pretty and sonically I think it is one of the best instruments on the planet!”

How do you balance music and other things in life?

Conro: “I treat it more and more like a working schedule. In the past, there was no structure at all. But I’ve made good decisions over the past few years to treat it more like a 9 - 5.”

What advice would you give someone who has just started their musical career?

Conro: “Have fun, enjoy the ups AND the downs. It’s been a wild ride for me, and I love looking at all the fun along the way. The hard times really shaped me as well. I’m blessed to wake up and get to do what I do.”

Anything else you want to say to your fans?

Conro: “I love you, thanks for supporting me and my love of music.”

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'AWAKE SLEEPER' / AMY JAY: REVIEW

February 11, 2022

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.