POUTYFACE: INTERVIEW

April 9, 2022

by emily harris

poutyface’s newest single, “Cherry Picking” is here! The alt-pop track is noted as an ode to the 2000’s pop punk scene she’s heavily influenced from. The nineteen-year-old singer songwriter is in the process of working on an EP! We had the ability to chat with her about the newest single, what’s coming next, and her traction on TikTok!

You recently released your newest single, "Cherry Picking!" What was the recording process like for you?

poutyface: “Really easy. I was working with a couple good friends of mine. It’s always easier to work with people you’re friends with. We tracked in each part as we wrote the song. Once the song was fully written, we went back and got proper vocal takes. The whole thing was finished in a matter of hours, besides a scream I added in later on.”

How do you think this single sits amongst the other songs in your discography?

poutyface: “I think it was an itch I’d been wanting to scratch for a while. I love the 90s and this song is shameless 90s worship to me. It definitely sits on the dirtier, grungy side. Still feels like it fits between the rock and pop elements I have in a lot of my music.”

You're recently were on tour with YUNGBLUD! How did that collaboration come about?

poutyface: “So I knew a was being considered for a tour for a couple months. I just didn’t know WHO because my manager told me, ‘I’ll let you know if we get it.’ Didn’t wanna have me stressing over it. But finally, on a random day, he called my while I was in a CVS and gave me the news. Really played it cool in the drug store but I was partially in shock for sure.”

Which song have you enjoyed playing live the most thus far?

poutyface: “Rag Doll. Definitely, Rag Doll. That one was such an unexpected addition to the setlist and the impact it had on people was even more unexpected. There’s a point in the show, during this song, where I talk about how easy it is to bottle up your emotions, and it really is, but it takes such a massive toll. There’s this moment, where the audience lets out one huge scream together. It makes me emotional thinking about it even now, but really seeing all those faces gather the to courage to let things go, sometimes holding hands and bracing for impact. It’s a beautiful cathartic moment.”

How has your TikTok following influenced the way you approach music or your fanbase in general?

poutyface: “TikTok gave me an opportunity to reach a lot of people really quickly which I’m very grateful for, but the audience tends to be more fickle in my experience. That being said, it’s made me even more grateful for my hardcore fans who’ve stuck by me long term. I want to keep building that close relationship with them. As far as music goes, It doesn’t influence what I’m making or why I’m making it. It’s a cool tool though, for testing things out.”

How has being only nineteen affected the way you look at the industry?

poutyface: “Ultimately I’ve been really lucky in my experience so far, being so young. There are things I see that I don’t like, but I think that goes for any industry. From my current viewpoint — it’s so nuanced, heavily influenced by relationships with people and that was something I had to definitely learn and grow through. It’s not always all about the music, as much as I want it to be. Still, gotta stay optimistic. Easy to get jaded.”

What song would you recommend someone to listen to if they're looking to get into your music? Why?

poutyface: “Probably Cherry Picking. That’s the most recent song I’ve put out. I’d want them to grow with me creatively in real time.”

Can we expect an even larger body of work from you soon?

poutyface: “Can’t say specifically when, but the EP is on her way very soon.”

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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?