THE MIDNIGHT: INTERVIEW

April 8, 2022

by brittany and everly ormiston

“The Midnight world is a hybrid of this imaginary time that we are working on in the real time that we live through.” Singer-songwriter Tyler Lyle and producer-songwriter Tim McEwan joined forces 10 years ago to create a project now known as The Midnight. The band may fit in the synthwave box, but aim to stick outside of it as well. They are successful at creating art that is revolutionary and impactful, and have the ability to capture different eras of music and effortlessly make them their own. The center of The Midnight universe is nostalgia. “Nostalgia has always been the fundamental premise of this band to try and capture that fleeting feeling of love, loss, and regret,” explains Lyle. The Japanese phrase "mono no aware" (物の哀れ) is the band’s motto, and has been considered its core from the very beginning. It perfectly encapsulates the feeling of nostalgia, and “a sense of spring as things are fading away.”

“Mono no aware” is the band’s guide, especially during the collaborative creative process. Lyle and McEwan aim to move themselves, and use elements they believe in both lyrically and on a production level. They pull inspiration from very different places, and take a variety of vibes and energies from current artists they are listening to. A track on the unreleased album was created with inspiration from Def Leppard and Whitesnake for the production, and from the late Juice WRLD for the songwriting aspect. “This has all been done before, which is true. But it has not all been done before by you,” Lyle mentions. Over the years, Lyle and McEwan have learned to appreciate and enjoy the process, which in turn brings a great amount of emotional-payoff when everything is all said and done.

The duo have experienced a great deal of emotional-payoff when it comes to their new album set to be released this year. Over the past few years, they had time to dive in creatively and to “digest themes.” McEwan was able to think further about the vision he wanted to create with production, and Lyle decided to jump into modular synthesis to “add production value to their future records.” Thematically, The Midnight’s newest album will include 80’s guitar, production, and background vocals. On a deeper level, it will continue the arc of self-awareness that also includes their other two albums: Kids and Monsters. Lyle explains further, “Tim and I are wanting to tell the story of the arc of how a person grows into themselves, and there are three movements. You gain self-knowledge, then you jump to gain self-love, and that means understanding the boundaries of other people and being able to love yourself. The next record is the other leap from self-love to empathy.”

The Midnight’s newest album will be nothing short of wistful and charismatic. There will be a different level of relatability to the new record as it unveils the stories and struggles of other individuals. Along with the rest of their music, Lyle and McEwan hope the album as a whole will resonate and translate with the fanbase just as it has within themselves. “Our job is to be a mirror… to be able to give back to the fan whatever they are giving in to us,” Lyle shares. This mindset is especially portrayed when The Midnight performs live. Everyone in attendance is there for catharsis and an emotional experience, including the band members.“This idea of collective effervescence; when we all get together, we create a moment that is bigger than the individual ego or the individual self. We are co-creating something that is bigger than all of us,” expressed Lyle.

At their sold-out stop in Indianapolis on their recent tour, Lyle made a short speech before “Comeback Kid,” and highlighted how the audience plays a role in making the magic happen. The perfect example of this magic is when the entire room held onto one another, swayed back and forth, and sang the lyrics to “Lost and Found.” In that moment, you felt free from the burdens of life and truly the most alive. The saxophone solos, especially during “Jason,” were mesmerizing and thrilling at the same time. At one point, McEwan left his drum set and came to the front of the stage to cheer on the saxophonist, Justin. The audience continued to go wild during the chorus of “Los Angeles,” and bounced their arms to the beat of the bass drum. The amount of nostalgia emitted throughout the room was indescribable. The Midnight knows how to throw the most memorable party mixed with a whole lot of nostalgia to last you a lifetime. The beauty of it all is “nostalgia can be any decade... It is specific to your personal experiences and your life experiences,” — Tim McEwan.

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OLIVE VOX: INTERVIEW

March 28, 2022

by mariah estran

The grunge-rock duo Olive Vox are knocking down your doors and entering the alternative scene with a polarizing nostalgic sound. Think Nirvana and Alice In Chains. A celebrated sound the brothers have found themselves immersed within.

Now the two have released their self-titled debut EP, a five-track project that’s bringing listeners into that rowdy universe curated from a fascination in distortion – and it’s just the beginning. Parker James and Caden Shea will embark on upcoming tour dates while looking towards the future of creating a full-length record.

But for now, we got the chance to speak with Olive Vox about their new EP, developing their sound, working in the studio, and what it was like hitting the stage for the first time.

I want to start with what pushed you two to start making music. Y’all are familiar with dabbling in creative projects, Parker you have had some crazy traction on TikTok. But why was this the perfect time for both of you to commit to music?

Olive Vox: “Well, we’ve always been musicians before anything. Our whole family is a group of musicians. Before I even started doing TikTok, Caden and I made music together. Then, we always said, ‘Yeah, we’re gonna be in a band together.’”

In February, you two released your self-titled debut EP! What can we expect from this body of work and what is the story it is telling?

Olive Vox: “It’s going to be awesome. We have two new songs on there; ‘This Is My Home’ and ‘Denial.’ The story is just a lot of different experiences that we’ve gone through.

There’s not a consistent story between the songs — each song is a little different.”

You have released several singles, each of which carry this nostalgic 90’s grunge/rock sound. What is it about that genre that really inspired you both?

Olive Vox: “I like the distortion and how they can have this distorted guitar. Maintaining that heaviness, but also have these patchy melodies. I’ve just always been interested in that.

It’s just a very distinctive sound – it’s great.”

I’ve read reviews that compliment how you two have showcased this dynamic sound that is considered mature. While creating this EP, what was the process like producing your sound and writing each track?

Olive Vox: “I mean, it was cool, going into the studio. We recorded on tape. We went into the studio, did everything kind of old school style, played on a bunch of vintage amps. I do think that played a lot into our sound.

As far as writing, it was all behind the scenes. I would write a riff and go from there. We just had a drummer at the time. We didn’t have a band or a bass guitarist, anything like that. We went in — it was just us and the drummer. We tracked the main thing live. I did the bass and some overdubs on my guitar.”

You both have just started playing live shows, and you’re even embarking on a tour in the upcoming future. What has it been like hitting the stage for the first time and playing these tracks live?

Olive Vox: “It’s been interesting, it’s fun. Just the other day, on Valentine’s Day, we had a bunch of people pull out their flashlights, so that was pretty cool! It’s a new experience that I’ve always wanted to have. It’s good to see people reacting. It means you’re doing stuff right.”

While this is just the beginning, how do you two hope to keep transforming and growing as you continue to make music?

Olive Vox: “I feel we are going to learn how to do things — how to write songs quickly, for sure. It is just the start. I think songs will become more complex, more developed. We’ll find exactly how to do something. We’ll master it. In the future, we hope to be one of the big rock bands in the world.”

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'TELL ME THAT IT'S OVER' / WALLOWS: REVIEW

March 25, 2022

by emma schoors

Tell Me That It’s Over is Wallows’ farthest reaching sonic landscape to date.

It’s a beautiful, April afternoon in Southern California, and Wallows is prepping to release their debut EP, Spring, with a corresponding show at Amoeba Records in Los Angeles. The “Upcoming In-Stores” marquee outside spells their name in thick, black lettering, among bands like The Voidz and The Motels. While herds of cars in LA traffic inch to their destinations, Wallows fans delve into the band’s 6-song masterpiece for the first time. Songs like “It’s Only Right” and “Ground” leave listeners breathless, and it feels almost criminal that the band hasn’t reached the ears of the general public yet. There’s an unspoken understanding that Wallows is destined for the biggest stages this world has to offer.

The second their summery debut record, Nothing Happens is released, the world catches onto the glittering genius that is Dylan Minnette, Cole Preston, and Braeden Lemasters. Millions of monthly listeners flood in, and Wallows shows grow into massive gatherings of electrified fans. “Just wait until Treacherous Doctor,” a fan beside me says at one of these concerts, pointing knowingly towards the circles of fans feeding off each other’s energy. As if on cue, the room goes wild. This intensity seems like it’s going to last forever, but 2020 brings a fierce dilemma for Wallows. They’re stuck at home, unable to perform, in the midst of the biggest success of their lives. What happens next? The machine is bound to power down, but it doesn’t. The band pumps out OK and Remote, the latter recorded remotely, and it’s their best work yet.

Wallows could have taken years off to prepare their sophomore record, but that’s thankfully never been their thing. Tell Me That It’s Over starts with a surprise, as a single like “I Don’t Want To Talk” or “Especially You” isn’t chosen as the first track. “Hard To Believe” is a complete 180 from “Only Friend.” The latter is padded with guitars, yet utterly naked in the lyric department. Minnette hammers down the album’s key themes within the first few minutes with a simple inquiry: “When it’s all said and done, will you need me, too?” What the trio’s debut provided in vulnerability has not at all subsided, and “Hard To Believe” touches down with the same rawness, executed in a completely different way. “I just want to breathe,” Minnette sings, “Is that so hard to believe?”

“I Don’t Want To Talk” is a tale of two completely different worlds. The main hook is bright and colorful, while the lyrics detail a world of anxiety. “Especially You” continues this confusion: “Some things leave me confused, but especially you.” These two tracks back to back are more radio friendly moments on the album. They’re a welcome bit of ear candy, while still prioritizing meaningful lyrics.

“There’s a lot of stuff on this new album that’s super familiar for our fans, and very easy to digest, and then there’s, I think, things that challenge our fans,” Minnette told Apple Music’s Zane Lowe in Sep. 2021. “It feels like we have some of our heavy stuff and some of our poppy stuff at the same time. It feels a little all over the place, but in a way that somehow feels like it’s completely part of the same entity.” Minnette described the record’s feel perfectly, as “At The End Of The Day” is a curveball. Lemasters take hold of the vocals, almost whispering, “Can you see ourselves in love like this forever?” The chorus is addictive and feels almost circular, as Lemasters plays around with different melodies. It’s crystal clear the band has mastered their instruments, and are now experimenting with decades worth of inspiration.

A definite highlight of the record is “Marvelous.” Something that drew listeners into the band’s debut album was its naivety and focus on growing up as a motif, and this record is more in tune with the pressures of adult life. To have a moment of renewed naivety, while keeping with more realistic themes, is utter bliss. Minnette’s voice has naturally matured over the years, and he navigates difficult melodies with absolute ease in this track. It’s a great example of how the band has improved with each release, but kept their ability to write a truly fun song. Lydia Night lends her gorgeous vocals to “Permanent Price,” a track that spotlights Preston’s drumming. “Missing Out” is heavy, melodic, and experimental, and one of the more challenging tracks, while “Hurts Me” is a synth-pop dream. “I know myself better than you do,” Lemasters notes, later flipping the script and singing, “You know yourself better than I do.”

“That’s What I Get” is one of the band’s most unpredictable tracks. It starts slow, churning through lyrics of uncertainty. As soon as the second chorus hits, the entire mood changes. Two sudden bursts of sound emerge as Lemasters sings the first line, but they don’t repeat in the second line. Suddenly, one burst occurs, and doesn’t repeat in the fourth line. This listening experience is confusing at first, but ultimately shows how much the band has improved. They’ve entered a phase in their career where nothing is off the rails, and everything is on the table. It’s an incredible thing to hear. The record ends with “Guitar Romantic Search Adventure,” which, like every Wallows track, experiences a complete rebirth about halfway through. This band is rich with ideas, and it’s evident in everything they do.

Everything about Tell Me That It’s Over screams Wallows, yet it is a complete change from previous releases. Wallows has shape-shifted as a musical entity nearly every year for the past five years, and 2022 has been their best year in music yet.

'GABRIEL' / KESHI: REVIEW

March 25, 2022

by brittany and everly ormiston

R&B, alternative-pop sensation keshi is well known for his flawless falsettos, genre-defying style, and multi-layered instrumentals. He independently wrote, produced, and engineered his past three EPs, which quickly climbed the charts and grabbed the attention of listeners around the globe. Since then, keshi’s main focus has been to create an “opus record” like his musical inspirations of John Mayer and Frank Ocean. He hopes to have created a timeless work of art with his debut album, GABRIEL, released on March 25th via Island Records. Baltimore producer and songwriter Elie Rizk co-produced the album alongside keshi, which will add a new twist. This full-length album is keshi’s most honest and candid music to date, and allowed him to “process his life at the moment.” Listeners will catch a glimpse of keshi’s life inside and outside the spotlight with this record.

The album in its entirety appears to tell the story of experiencing love and loss. The tracks “GET IT” and “MILLI” have intense beat drops and drum loops that make you want to dance the night away. The lyrics depict being confident in your independence, and having the mindset to take on the world by yourself. The album progresses to meeting that special someone who unexpectedly sweeps you off your feet to the point it doesn’t feel real. ‘SOMEBODY” and “WESTSIDE” have an R&B, nostalgic feel with angelic, smooth vocals. You are mesmerized by that one person, and you want to be with them constantly. The lyric “Just don’t let me go // swear you’ll keep me close // when I fly to the westside // when I catch another redeye” in “WESTSIDE” illustrates taking every opportunity to be in their company while a bit of uncertainty still ensues.

keshi displays his wide vocal range in “TOUCH” by using baritone vocals during the verses, and higher vocals throughout the chorus. The storyline continues as you become more invested and intimate with that person, while at the same time knowing you are better off without the unspoken tension. You push that aside and now you are devoted to them. It’s gotten to the point where you don’t know what’s reality and what’s fantasy. “Is this hell or heaven // might be just the medicine” shouts keshi with emotion filling his voice as the female vocalist softly utters “Can’t afford to give it up // till it’s gone” in the background. The next track ‘“ANGOSTURA” follows suit as a serenade about being there for that special person through everything. Angostura is used to flavor alcoholic beverages, and in this song it may describe the intoxicating vibe and aura of your significant other.

The ballad of “UNDERSTAND” showcases keshi’s chill-worthy vocals accompanied by the gentle strumming of a guitar and an orchestra at the bridge. The track describes your significant other being your safe space, and feeling like home. “So I guess that it’s time I ask you to be mine for all my days // I hope you’ll stay” is the point in time where you choose them now and forever. The last three tracks of GABRIEL change course, and you are slipping into a downward spiral after your relationship is over. The uncertainty you had originally is back, but now you are unsure where to go from here and who you are without that person. The piano tempo in “ANGEL” leads into the chorus with intense guitar riffs and an addicting drum loop to make for a dreamy sad song. keshi’s vocals during the lyric “I thought you were an angel // I lost myself when I caught sight of you” are heavenly yet enriched in so much pain while bidding them farewell. You are reluctant to leave and are begging them to stay, but you watch them fade away into a distant memory.

“Before I leave // I see Gabriel” is the last lyric of keshi’s debut album. This phrase deems as a cliffhanger and has listeners dumbfounded. You have said goodbye to the person that has left an imprint on your life. However, seeing the angel Gabriel could mean you have received a message from a higher power and are working towards accepting it. Is the message to close the chapter of your life and move on, or pick up the pieces and fight for the one you love?

AS IT IS: INTERVIEW

March 24, 2022

by sierra romano

“Life inspires my lyrics, my struggles, my mental health, my attitude… music has always been sort of a product of necessity,” says As It Is’ singer Patty Walters. In this interview he dives into the depths of the band’s new album I WENT TO HELL AND BACK, which was released back in February 2022. You can stream the album now on all platforms, and you might even be able to catch As It Is on the road later this year!

Congratulations on the album — I’m a huge fan! How would you say this record differs from your previous releases?

Patty: “I would say it differs in a few ways. Firstly, it is a product of the pandemic. I know a lot of people are reluctant to call projects a ‘pandemic album’ or a ‘pandemic project,’ but truly this record wouldn’t exist without the pandemic. We had every expectation of recording an EP in April of 2020, which is what we started doing over Zoom and Dropbox respectively with our producer Zach Jones. We recorded five, maybe six, songs and when the pandemic persisted we continued to work and continued to write, halfway out of how promising the sessions had been and halfway out of necessity. I mean, there were so many emotions and fears and struggles to channel into art and lyrics, and without a project to work on something productive in a healthy way to express myself and navigate those emotions it would’ve been an even more challenging time, which is hard to imagine.

This is a record that is raw and upfront, and when I say honest I don’t mean to imply that our previous albums haven’t been honest. This is just a very transparent record. The lyrics don’t hide behind many metaphors. it’s just feelings at their most raw and most true. And I would say those are probably the two biggest differences that I can attribute to this record.”

What was the writing process like for this album?

Patty: “It began the same [as previous albums] that in late 2019 Ronnie and I were doing some writing sessions with songwriters, producers out in LA. We wrote a few of the songs that are on the record. We wrote ‘IDGAF,’ we wrote ‘I’M GONE,’ and we wrote ‘I CAN’T FEEL A THING’ – and we wrote a blueprint for what became ‘I LIE TO ME.’ That was called ‘Rearview’ and sounded halfway similar. And then when the pandemic rolled around it was very different and that we were writing songs over Zoom and over Dropbox, and nobody was in one room at any one time. The only songs that were written in person were ‘I HATE ME TOO,’ ‘I MISS 2003,’ and ‘IN THREES,’ and we wrote those in August of last year. But apart from that, everything was written and worked on remotely. It was a challenge but it was worth doing. Very proud of this record and creating what we did out of the process that we sort of had to endure.”

Aside from all of the legendary artists you have referenced in “I MISS 2003,” what else inspires your music?

Patty: “I would say just life. Just life inspires my lyrics, my struggles, my mental health, my attitude. That’s it, this music has always been sort of a product of necessity. It really serves as catharsis and my therapy for the most part. But musically, I think this record is probably our most diverse and eclectic in terms of instrumentation, how the music all sounds. And for that we’re just channeling a bunch of influences, things as different as pop and hip-hop, and even heavier bands on some of the heavier tracks too. It’s a combination of all of those things, I would say.”

You guys have a couple of collaborations on this album, namely Set It Off and JordyPurp. What was it like working with them for “IN THREES?”

Patty: “It was so much fun, truly. We had Cody in the studio for one day, and I think we all sort of expected and intended to write a much more upbeat and major sounding song, but what sort of materialized was this very somber and ominous sort of alt-pop track. And it just sort of felt like we were in the backseat and the song was writing itself. It was sort of guiding us. I don’t often believe in or feel those sort of feelings, but there was some sort of force in the room and that’s the song that sort of wrote itself that day.

When we penned the lyric ‘tragedy comes in threes,’ we did sort of all realize it wouldn’t be complete without a third artist featured on the track. We reached out to our good friend JordyPurp, he had already been in two of our music videos and he’s been a longtime friend and somebody that we thought was making just some really cool art, and we thought he would sound great on the bridge. In less than a week the song was finished.”

There’s a clear connection between tracks 3 and 4 on the album, and the singles were even released together. Are any of the other songs on the album also paired together?

Patty: “That’s a really interesting question in that ‘ILY, HOW ARE YOU?’ is also sort of paired with ‘I’D RATHER DIE’ because they were written on the same day. I wrote ‘I’D RATHER DIE’ when I was having a very bad time with my head and I didn’t press attend on the Zoom session that day. I chose to just write on my own because the presence in front of others was too difficult, so the guys worked on ‘ILY, HOW ARE YOU?’ in my absence and I worked on ‘I’D RATHER DIE’ in their absence, and the very next day we just sort of exchanged these songs and they were being written at the exact same time and finished at the same time as well. So those two for me are very much paired. Apart from that there’s not too many others that I can think of, and I know that ‘I WENT TO HELL AND BACK,’ the track, was one that we were working on at the same time as another, but it escapes me whatever it was. So I would say those two are also linked together.”

Was it nerve wracking to be so blunt and honest with your lyrics on this record?

Patty: “Yes and no, because I think sometimes it’s easier to share those feelings with a song before you share them with a person. Not only because it’s easier to just sort of really confront those emotions head on when you’re trying to write lyrics, but equally you start to sort of like really process those emotions and you can better articulate exactly how you’re feeling. Sometimes when I say how I’m feeling to my partner, my friends, and my family it takes somewhere between ten and twenty minutes for me to put my finger on exactly what’s wrong and exactly what my issue is, exactly how I’m feeling and what needs to change. When you sort of divulge those feelings and emotions to a song first, you have that moment alone to process and to really just asses what is the matter. So yeah, and it’s one of these things you show these songs to your closest friends, and then you show it to your family and then some more friends and some of the industry, and then you eventually roll it out to the world. Little by little you just start telling more and more people. It doesn’t feel like you’re ever telling the whole world all at once because that’s not really how it is in actuality. It’s not always comfortable, but divulging those feelings never is. It’s just part of the process.”

One thing I also want to mention is the album art. Can you tell us the story behind the cover?

Patty: “It came fairly late in terms of the deadline. There had been ideas submitted and nobody was truly in love with any of the artwork concepts. But [we] spent an evening really hoping to achieve a strong and simple and striking image to brand on the physical artwork and on streaming platforms, and the concept of somebody is in a doorway, and the doorway is on the floor beneath them in the shape of a casket, and their silhouette beneath them is a shadow of a skeleton. I thought it was a really effective way of portraying so much of what this record is about at its core. And it’s about just having a sort of inner struggle that you’re not always broadcasting, that there’s more going on beneath the surface. We gave that idea and a very, very rough sketch to our friend Flo at Fearless Records and he put together something just truly wonderful. I love how it came out, I really do. I think it’s one of my favorite artworks we’ve done, and I think it really serves the title of the album and all of the songs really tie them up in a bow.”

What is one thing you hope that your fans will take away from listening to this album?

Patty: “Anything at all. The thing that I love most about art is that it’s a suggestive medium, and it’s a different listening experience for every individual. I don’t want it to be the same for every person. I want everybody to have a unique experience with this record and with these songs. Every single one of these songs might mean something else to somebody else. Like it might not be how I intended the song to sound or to mean, but I just hope that people enjoy it. That’s my only hope in the world. Whether you enjoy it from front to back and you only listen to it as one record Side A to Side B, or you just skip and bounce from song to song – as long as you’re enjoying it and spending time with us and our music, that’s more than I ever truly could’ve wished for.”

You recently wrapped up the “Welcome to Elsewhere” Tour, how was that experience for you guys, and how has touring changed since the pandemic?

Patty: “I missed touring with my whole heart and it felt really surreal and really wonderful to be back on the road with friends, new and old friends. It was one of my favorite tours we’ve ever done, but it was certainly not without challenges in terms of weather, in terms of Covid health and safety. I ended up testing positive in the middle of the tour and had to remove myself for just over five days and missed one of the shows. There were a number of things about this tour that were particularly difficult. It was strange and sad not to be face to face with our fans at the end of every show – something I do truly miss and don’t know when that’ll come back. But even just any semblance of what touring used to look like is something I will take. I missed performing, I missed the day to day operation of being with my closest friends and doing something that makes me feel extremely proud and fulfilled everyday. It’s been really wonderful, bittersweet that it’s coming to a close. But it’s been a really wonderful tour. Set It Off took very good care of us, they always look out for us. They’re some of our closest friends in the scene and outside of the scene. They’re just great people. It was a great one.”

Can you leave us with a little hint for any upcoming projects?

Patty: “Yeah, absolutely. The priority is touring. We’re going to try to be as many places this year as we can get to. We just miss our fans so much. We missed performing so much, and we want to be playing more songs off this album throughout the year and early next year as well. We have some plans being booked and finalized, and we can’t wait to share them with the world. More videos to come, more versions of songs to come – stripped down, and maybe even souped up. We’re not slowing down anytime soon, so it’s only getting more and more exciting.”

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