JOESEF: INTERVIEW

by tiffany arunarsirakul

photo by nathan dunphy

Joesef is an artist who speaks from his soul, which is honesty. His life is his source of inspiration where everything you hear has happened to him directly. Joesef mentions how "it's sort of about how difficult life is but it's always right in the end." Joesef is going on tour in January and March this year, and we are excited to see what the future has in store for this talent!


Can you explain what new soul means to you?

Joesef: “Not sure really, soul to me has always sort of meant the truth. Do I believe whatever it is someone is singing or writing about? Soul to me means honesty in that context.”


Permanent Damage, your debut album, released on January 13th. How were you feeling leading up to the release?

Joesef: “Probably a perfect combo of excitement and completely shitting myself. I only get to release my debut album once, so I'm trying to take it all in as it's happening and not become passive amongst the madness of it all.”


How did you come up with the name Permanent Damage for the album, considering how “Caught in an Endless Sunday” was a potential name prior?

Joesef: “‘Caught in an Endless Sunday was a bit of a placeholder to be honest. I saw the words ‘permanent damage’ on a cigarette packet at an after party in Hackney. I was a bit fucked at the time but had written it down in my notes. I think it perfectly sums up the themes of the album, and fits the darkness in some of the sonics on the record. I wanted something that was instantaneous and held up this idea of something changing you indefinitely, like I was by the relationship that inspired the album.”


How do you find the inspiration for your lyrics and music?

Joesef: “My life has always been the source of my inspiration, or my shite love life to be precise. Everything you hear has happened to me directly, I've always just used it as my outlet to exercise parts of myself that I have difficulty articulating day to day. I think reading a lot inspires me also, writers like Douglas Stuart and Patti Smith are people whose work I've kept close to me during the process of making the record. I'd encourage anyone getting into songwriting or having difficulty with it to read as much as possible. I fucking love reading.”

What can we expect while listening to Permanent Damage?

Joesef: “It's definitely a bigger sound than anything I've put out before. I think it sounds quite lush at times. It's probably quite dark too, I honestly don't know what to tell anyone. I think they just have to listen and make their own mind up.”


Was music something you wanted to pursue since your childhood?

Joesef: “Not at all. I always loved to sing but being from the east end of Glasgow it never felt like something I'd ever be able to make a career out of, it was so far removed from the reality of growing up in a deprived working class area. I sort of fell into music after going to an open mic night with my mate who's now my manager. I'd roasted about eight pints and went up and sang for a laugh but off the back of that he wanted to try to manage me. I spent like a year trying to write music before I found my lane, it was such a mad time. I really can't believe where it's taken me too sometimes.”

How do you find a balance between your personal life and your professional life?

Joesef: “I find it really difficult actually, because the music is so autobiographical it feels like there are no boundaries at times. Everything feels personal to me, it's hard to look at things objectively when it's your own experiences that are the subject matter.”


Which song from Permanent Damage do you resonate with the most?

Joesef: “I feel like such a different person compared to who I was when I'd written the album. I'm pretty happy at the moment and hopeful that it stays that way, so I guess ‘All Good’ is the most relevant right now. It's sort of about how difficult life is but it's always alright in the end, it has to be.”

Being from Glasgow, how does it feel to have a fanbase nationwide?

Joesef: “I don't really think about it much, but I really love meeting people who like the tunes. It’s fucking crazy. I got recognized in-and-out when I was in LA. I was like HERE? How the fuck does someone know me here. People are always so lovely to me, and it really is such a beautiful thing that I never took into consideration when getting into music, how open and honest everyone is with me. I love it a lot.”

With your tours in January and March, how do you prepare yourself?

Joesef: “I try to just get good rehearsals in, make sure I don't overdo it too. You need to be like a fucking athele to sustain yourself for a whole tour, everyone get's sick at the same time ‘cause you're always breathing in each others breath in a tour bus, but it's sort of inevitable. I always try to prioritize a bit of alone time on tour as well, even if it is just taking a whole day to go and get my washing done.”

Is there anything else you would like us to know?

Joesef: “Don't think so, everyone enjoy the album, bye x x x x.”

 

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LITTLE IMAGE: INTERVIEW

by mariah estran

photo by tyler krippaehne

A single Instagram post initiated the return of Little Image. The Dallas-based, alt-pop band captioned the red-hued, group photo: “We’re back,” signed with a small emoji heart. Met with excitement; fans were ecstatic to know the wait was over.

It was 2020 — a new beginning was brewing. The band went on tour and released an electrifying single titled “WORTH IT.” They were gearing up for what they thought would follow a preconceived plan. Yet, as the pandemic hit and solitary took hold, they took a step back.

“Our comeback in 2020, which looking back on it, we just were not ready for,” vocalist Jack Simmons explains. “The pandemic gave us the opportunity to figure out what we wanted to do.”

In a sense, there was no way to avoid a session of reevaluation. There were no live shows, and at the time, the outlook of in-person performances was shotty. So, filling that void consisted of full awareness of their creative vision. “It just felt like we finally had the time we needed, in some ways, to grow up,” bassist Brandon Walters explains.

They met in high school and, by 2017, released their first record, Musings. A ten-track piece that showcased their talents; through garage-band-like guitar and drum energy, coinciding with tender lyricism. It’s an album that began to report that potential for versatility as it experimented with a charming concoction of light and heavy notes.

Now, it's clear that as years passed following the inaugural release, there is room for more change.

Recounting the recent evolution of Little Image, Walters notes, “It was a different shift within the band, and we are better because of it, even though it was hard.” Similar to the rest of the world, the three had to navigate how to work at a distance. One might be in Dallas, while another is in New York. It was an obstacle that induced a much-needed dose of reflectivity. “We learned how to communicate better. We were able to dive into the songs a lot deeper because we had so much time on our hands,” Walters explains.

Unpacking those pent-up emotions — the observations of solitude gave way to new singles that pack a punch. By the fall of 2022, “LUNGS BURN” was dropped into listener's hands. Opening with a jolt of synthesizers, unveiling a new-found dance-inducing tone. As Simmons sings: “I can feel it in my bones / Things are getting pretty cold / Boy across me got no soul / And he's on the phone.”

“Our music is always open for interpretation, you know? But for us, it’s kind of this small lens on our view on certain things,” Simmons says about the song. There’s a hint at societies’ attachment to digital reassurance. The music video, directed by Sawyer Skipper, depicts the band members staring into hypnotizing, brightly lit phone screens. “We live in such a world of technology and self-image — we struggle with it as well,” the vocalist adds.

“LUNGS BURN” quite literally holds a mirror to a detached way of living, this feeling the band saw themselves beginning to dissect while making new songs. “I feel like we are missing a human connection — that’s the biggest theme we are trying to communicate,” Walters further explains. Yet, as they share this discourse through their current singles and upcoming ones, they are rekindling a form of connection. “To have people come up to you and tell you what that song means to them — that’s the cool part about music,” he says. They’re developing a connection with their listeners.

Working with producers Chad Copelin and Jeremy Lutito, their music is transforming into this multi-layered sensation. It’s not only grabbing you through thought-provoking lyricism but gripping energy. It feeds the impulse to hit replay. If a listener isn’t sifting through the witted words, there’s a chance they’re sonically immersing in the alt-pop kick.

“Jeremy was the first to kind of push us into steering away from the classic guitar and drums, bass band thing, but still being true to ourselves,” Simmons says about working on their sound. “We were able to take what we learned with Jeremey and bring it over to work with Chad and create something special.”

Opening two shows for Panic! At The Disco last fall, that special sound found its way to more ears. Attendees even sharing their praise through YouTube comments on their newest tune, “BLUE.” Some mention seeing them in concert and falling in love, as more profess that they “get all the vibes right.”

That engagement, that admiration towards “BLUE,” is heartwarming to observe. The band grew with this song over the last couple of years. They explained that it took several transformations after being written pre-pandemic. There were production alterations and new elements incorporated, such as the bridge. They share that this was the song that aided them through the unpredictable state of the pandemic. “It’s funny that music can help you get through things,” Walters says, as Simmons nods in agreement. “Very rarely is it your own music that’s helping you get through something.”

Little Image – as with the rest of the industry – was aware of how long it might take for things to feel normal, for that bond between listeners and musicians to return. Yet, it never derailed what the band could be or what they could develop.

2022 proved how they overcame their hurdles. They have entered a new era, yet it is only the beginning. "LUNGS BURN," and "BLUE" are just the preface. The whole story, the album is soon to come. That search for connection pushed them onto a new playing field — one which is inching towards higher fates.

The new year already includes a tour with Colony House. Walters reflects on what’s happened and what’s to come, “The whole thing with us is we want human connection — this gives us a little bit.” His sincerity rang through a closing note, “When we are able to meet people when we can, it’s a special part of being a band.”

 

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'END OF IT ALL' / DWLLRS: REVIEW

by sara welden

“End Of it All'' is an exceptionally earnest new release from DWLLRS, a California duo consisting of Bren Eisman and Joey Spurgeon. At its core, the song is an anthem for all of the lonely hearts. Throughout the track, DWLLRS takes us on a melodic journey of recognition and yearning, alluding to the many heartbreaks of life while also acknowledging that there is a light at the end of the tunnel.

The hauntingly beautiful vocals and piano set the tone for the song and are accompanied by lyrics like “Before you love somebody, better love yourself.” With refreshingly candor lyrics like these, DWLLRS allude to a lesson that is often difficult to learn, but necessary to understand for a person’s growth.

“End Of it All” is a musical whirlwind of emotions that concludes with reassuring optimism. “At the end of it all, I hope I lived it a little different than just being alive.” Life is full of low points and loneliness, but it is also full of genuine, outpouring love and light. Through “End Of it All,” DWLLRS reminds us to seek solace in life’s highs while also having the courage to embrace the lows.

 

MAX DRAZEN: INTERVIEW

by iliana calderon

photo by tommy nowels

Up and rising artist Max Drazen has released his latest song, “Not Because I Loved You” and answered some questions about the new song and its meaning. He also talked about his musical inspirations and other genres of music he’s worked with. Drazen is set to release new music in the new year and hopes that his fans are excited.

Can you tell us a little bit about what your newest song “Not Because I Loved You” is about?

Max: “‘Not Because I Loved You’ is about my most recent relationship. It was really hard. There were times when I was being manipulated and gaslit and made to feel like all the problems in it were my fault. So when it ended I felt relieved but I also felt a sense of heartbreak. I didn’t love her but everything I went through during the course of those few months was traumatizing. It felt like a new type of heartbreak for me.” 

Has this song differed from your previous releases at all in regards to concept or production?

Max: “‘Not Because I Loved You’ is the first of a string of new music. I recently feel like I found my sound. To me, being an artist is all about taste and I didn’t truly love the stuff I put out before it. I still believe those first few songs are great but not necessarily stuff I myself would listen to. It’s really important to me that all the stuff I release from now on, I love and feel unique to me, not just quality songs that I think people would like.”

You’ve listed some of your inspirations as Smino, J. Cole, The 1975, and Two Door Cinema Club. Did you grow up listening to different genres of music?

Max: “I grew up listening to everything. My parents’ favorite artists are storytellers: people like Elton John and Billy Joel. Storytelling became important to me from a young age. When Spotify became popular I branched out from classic storytelling artists and got into alternative music, R&B, and hip-hop. The reason I think pop suits me best is I can use all of those influences and turn them into one song. My goal is for my stuff to feel relatively genre-less as a result of my listening habits and inspirations.” 

Where do you currently find most inspiration?

Max: “I mostly find inspiration in unique sounds and production. I often listen to Smino because his stuff is so boundless. His producer Monte Booker uses so many sounds that are, for a lack of better words, weird, but because of that really unique and cool. I gravitate towards sounds that feel like they have been untouched or unheard.”

Is there a genre of music you’re specifically looking to work with?

Max: “On top of my artist project, I write for a lot of other artists. I feel like what separates me from many people is my songwriting. This year my goal is to work in as many genres as possible in order to use the creative side of my brain in different ways. I feel like being able to write in any genre makes me a better artist. It allows me to pull from any inspiration and make it my own.”

 

Is there anything we can expect from you in the near future?

Max: “You can expect a ton of music this year. I’m super excited for people to be able to consume my music in more than just singles. With that will come live performance videos, a lot of dope content, and a glimpse into my process as a songwriter. I’m also starting live shows this year which I’m super excited about. I’m so excited to get into it all this year.”

 

KATHERINE LI: INTERVIEW

by alex grainger

photo courtesy of katherine li

Katherine Li recently released her debut EP Crush(ed). Self-proclaimed sad girl, Katherine Li takes listeners through the shattering experience of a “crush that stayed a crush.” From the first encounter to the last stage of acceptance, the EP explores polarizing sounds to either “sob uncontrollably to, or have a dance party to.” Being a bit of a Tik Tok sensation, Li turned to her digital community of hopeless romantics during the creation of Crush(ed). Her followers not only heard the original snippets of songs which would turn into the EP, but also helped her decide which tracks were best to tell the story of Crush(ed). Read more about Katherine Li and Crush(ed) below!

Can you tell us what your debut EP Crush(ed) is about? Are you telling a story through the EP?

Katherine: “Crush(ed) takes listeners on a journey of unrequited love. The crush that stayed a crush. The EP outlines the 5 stages of having a crush: 1.) The Encounter 2.) Realization 3.) Denial 4.) Hate 5.) Acceptance. In other words, my love life [laughs].”

What’s the meaning behind the EP title, Crush(ed)?

Katherine: “The EP title is suggesting the ‘double-meaning’ behind having a crush. A crush can be seen as exciting, fun, but more often than not (in least in my experiences), you learn that it’s called a ‘crush’ because you get crushed by them.”

What was the creative process behind the EP?

Katherine: “This EP consists of the very first songs I’ve ever made, so finding ‘my sound’ was a huge part of the creative process. I was lucky enough to work with (the very very very talented) Joe Avio, who produced all the songs on Crush(ed). I feel like him and I were on the same wavelength while making these songs [laughs], I think they all turned out amazing and I’m in love with every single track.”

How would you describe your sound? Since this is your debut EP, how important was it for you to develop a sound that represented who you are as an artist?

Katherine: “My sound definitely lives in the ‘sad girl’ space, BUT it’s also spiced up a bit with very cool instrumentals and other elements (thanks Joe!!!). I think most of my songs are ones that you can either sob uncontrollably to, or have a dance party to [laughs]. With Crush(ed) being my debut EP, it was super important for me to find the perfect sound. After the process of finding the sonic space of my first single, ‘We Didn’t Even Date,’ the sound for the rest of the EP quickly followed!”

The EP takes listeners through the stages of having a crush. Was there a specific stage in this journey which was most difficult to articulate? One which was the easiest?

Katherine: “The most difficult stage to articulate was ‘Hate.’ For me, the ‘Hate’ stage of a crush happens very quick, so I had to dig up ALL the negativity I had in me and spill it into three minutes worth of song. The easiest stage to write about was ‘Realization.’ This is when you realize you never had a chance with your crush. Most of my time is spent in this stage so there’s A LOT for me to talk about, maybe even an ENTIRE EP’s worth of songs…”

Is there a song off Crush(ed) you are most proud of? One that was the most challenging to create? One that was the most fun to create?

Katherine: “I’m proud of the entire EP, I don’t think I could choose just one song! Every track means so much to me. The most challenging song to create was ‘I Don’t Care,’ more specifically writing it. It was a bit more difficult for me to write openly about how I felt about watching everyone around me fall in love. The most fun song to create was ‘Happening Again.’ This was the first track that Joe and I made together in the same room! I loved watching the whole song come together piece-by-piece, it makes the final product super interesting to listen to.”

How have you grown as an artist through the release of Crush(ed)?

Katherine: “I always thought that the songs I wrote would mainly be slow piano ballads, but the release of Crush(ed) has pushed me outside the usual ‘sad girl Katherine’ comfort zone. There are some tracks that are more on the upbeat vibe which is different from the sound I usually fall back on. But I’ve fallen in love with trying new things and I’ve been keeping that in my back pocket for the new songs that I make!”

What role did TikTok play in the creation and release of Crush(ed)? Did any of the EP tracks originate as a simple TikTok video?

Katherine: “TikTok played a huge role in the creation and release of Crush(ed). I’m quite the indecisive person [laughs], so I turned to TikTok to figure out which songs would make the EP. Four of the six songs from Crush(ed) started out as short clips from TikTok videos. It’s crazy how 15-second snippets of songs can eventually turn into a fully produced project!”

What are you most proud of upon the release of Crush(ed)?

Katherine: “I’m most proud and thankful to have started to build a little community of fellow people going through unrequited love, and get heartbroken over crushes. It’s been surreal and comforting reading messages from everyone who can relate to the songs on Crush(ed) and going through the same thing as me. HOPELESS ROMANTICS UNITE!!”

 

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