XANA: INTERVIEW

April 3, 2023

by sara welden

Establishing her position as this generation’s ethereal pop powerhouse, Xana is back with a blazing new single “Bad Bandit.” At her core, Xana is a storyteller, and the track is nothing short of cinematic. Fueled by her love for country music, the rising artist has managed to showcase the magic that can happen when you color outside the lines. Through her music and encompassing themes such as LGBTQ relationships, female empowerment, self-reflection, and discovery, Xana encourages listeners to fully embrace their authentic selves. Read more about Xana and her exceptionally creative new track “Bad Bandit” below!

Congratulations on the release of your new single “Bad Bandit!” It’s an absolutely wild track in the best way possible. I imagine that this was a really fun one to record, could you walk us through what that process was like for you?

Xana: “Thank you! Yes, it was a really wild and fun song to bring to life. I wanted to write something fun and non-serious after finishing my first album. Usually I have a fully formed or mostly fully formed song before I bring it to my producers Liam Moes and Shane Stephenson, but this time we started from scratch and all I had was the main riff. From there we played around and I came up with the ‘Clyde & Bonnie’' verse which immediately lead us into this western pop rock world as I started to create this Harley Quinn type character who’s an absolute psychopath but also a hopeless romantic who just wants to find her ‘other half,’ a lover who’s just like her. When it came to production, we would have these silly ideas like, ‘what if we put horses neighing in the bridge?’ ‘What if we had samples of chains and pistol revolvers?’ ‘Where's the cowbell?’ And no matter how funny the idea was, they all just worked and ended up being really cool and fun. I also had so much fun recording the harmonies and background vocals, I treated those voices as if they were townsfolk, they’re sassy, bratty and they love to gossip. The entire bridge is so satisfying for my brain, I feel like it's the closest glimpse into this character's POV where everything’s so dreamy and grandiose and romantic for a minute before we get back to the murdering. SO fun!”

“Bad Bandit” has one of the most interesting blending of genres I have ever heard, and you made it work SO well! Where did the idea to intertwine pop and country first come from?

Xana: “I love to dip my toes into different genres because I grew up listening to everything and I'm a lover of all music, but I’d say everything I write is still rooted in pop. I love country music, and although I wouldn’t call ‘Bad Bandit’ a country song, it definitely was influenced by country and has a grandiose western feel paired with the gritty pop rock vibe that I gravitate to often. This song honestly came together very naturally and I’m really thankful it found its way to me. I could definitely see myself doing something in this world again one day.”

Do you have a favorite lyric from “Bad Bandit?”

Xana: “‘Found me a husband, he was charming and I loved him, but his urges were disgusting so I bed him down to nothing.’ I just love how this character is like, ‘Sorry you mistreated me so now I have no choice but to kill you!’ Like, girl, mood.”

It seems you enjoy experimenting sonically which makes each of your songs unique from one another. Is there a certain genre that you’d like to explore in the future but haven’t yet?

Xana: “I’m currently working on a lot of new music and have definitely been playing with some new and different feels, as well as building on some other genres I've touched on before and want to further explore. I will say that my next song is drastically different from ‘Bad Bandit,’ and that will most likely be the case for the following. But I promise everyone will love it!”

Since releasing your debut single “Goddess” in 2020, is there anything that you learned about yourself as an artist? Has your songwriting process changed or developed since then?

Xana: “Liam and Shane are really the first people I shared my songwriting with. I used to keep my songs to myself solely, wouldn’t play them or even write them if anyone was in earshot. The first song I ever recorded was ‘Yellow,’ and I brought that home and it was the first time any of my friends or family listened to something I had written. But since working with the guys and putting it all out there for the world, and receiving so much love for it all, I’ve gotten a hell of a lot more comfortable allowing other trusted creatives in my space while ideas are still forming, and a lot more confident in my skill. I’m excited to continue to develop and see what the next couple years have in store for me!

Where would you say that you draw most of your inspiration from when it comes to songwriting? What’s inspiring you these days?

Xana: “A lot of what I write about is my own personal experiences, and I also like to make up stories and characters and write ‘character’ songs, which is what ‘Bad Bandit’ would fall into the category of. But when I'm looking for inspiration outside of myself I turn to discovering new music, watching movies, reading stories and poetry, anything that sparks something in me!”

Are there any artists that have inspired your sound, and is there anyone who you’d like to collaborate with in the future?

Xana: “I’m a huge fan of Halsey, Gracie Abrams, and Taylor Swift, to name a few of many. I’m usually drawn to lyrics and songwriting first and they’re all such brilliant writers so I'm always inspired by listening to them. I grew up listening to all kinds of music so I'm drawn in so many different directions musically. As for collaborations, I would love to work with Upsahl one day, her music always makes me feel so confident and badass that it would be really fun to see what we’d create together. She’s my go to when I'm hyping myself up or trying to snap out of being a sad bitch.”

You released your debut album Tantrums almost a year ago now. Does “Bad Bandit” set the tone for a new era of Xana? If so, how would you describe the shift?

Xana: “It’s insane that we’re already coming up on the one year anniversary. ‘Bad Bandit’ is a mini era of its own and we’re gonna have fun here for a bit before moving to the next mini era. I love ‘Bad Bandit’ because it makes me feel empowered and dramatic but in a different way that Tantrums did. Right now we’re on the bridge between Tantrums and the next album.”

What’s in store next for Xana? Any hopes or goals for the future?

Xana: “Other than working on so much new music and writing like crazy, I’m planning video shoots and shows, and my number one goal for this year is touring so keep an eye out for that. :)”

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WALLICE: INTERVIEW

March 30, 2023

by sara welden

I was honored to get the opportunity to have a conversation with this generation’s indie-rock enigma, Wallice. She’s an artist whose music I have become completely enamored with throughout the last few years, and I’m certain that many others would say the same. Currently on tour supporting JAWNY, Wallice is traveling with a set that is sparkling and spirited, capturing the attention of everyone that crosses its path. Prior to opening for JAWNY at a sold out show at Mahall’s in Cleveland, Wallice was kind enough to take the time to chat about her sweet beginnings, inspirations, tour, and all things music!

You attended a performing arts school growing up, so where did your initial passion for music come from? Was it originally something your parents encouraged or did it stem from your own interest?

Wallice: “I first went to a public school where you had to choose an instrument that you wanted to play, so I started playing the recorder and trumpet and then eventually switched to cello. In middle school I wanted to try theater but my mom encouraged me to stick with orchestra, which I’m obviously really happy about now!”

How has your background in classical and jazz music influenced the music that you make today?

Wallice: “It’s kind of funny, my whole band are actually trained jazz musicians, and my tour manager has a master’s degree in jazz performance. We’re all jazz bros! I think that knowing classical theory helps the writing process and I’d say that overall it’s really useful.”

Your most recent single, “Japan,” is really beautiful. Could you talk a bit about the significance of Japanese culture and your heritage in your life and how that seeps into your music?

Wallice: “I think that you can definitely see it visually with my first two EP covers. My mom is American but lived in Japan for a few years and my dad is from Tokyo, so I grew up with Japanese culture heavily influencing my life. There were definitely struggles that came with being mixed race while growing up, but I’m very in touch with my Japanese culture.”

How have you been enjoying the tour with JAWNY so far? Have you experienced a renewed energy surrounding live music since it was gone for a while during the pandemic?

Wallice: “My career didn't really take off until during the pandemic which is when I was able to find my audience, so I only really played a few shows before then. It's all still very new to me, but it’s been very fun!”

What do you miss most from home when you’re on the road?

Wallice: “I got a dog, Baby, since the last time I toured, so I’m missing her a lot. She’s getting spoiled at my mom’s house but I miss her. Also, living out of a suitcase has me really missing my closet!”

Is there a specific place or setting that you find yourself most inspired to write? Or do you find that ideas and inspiration come to you at random moments?

Wallice: “I’d say that it’s definitely random. I think that I sometimes get burnt out from writing, and since I’ve been on tour I haven't written in awhile. I’m excited to get back to it soon, though. Writing isn’t something that I can force myself to do if I’m not feeling it, so I’ve gotten better at taking a step back and recognizing when something isn’t productive.”

Since releasing your debut single “Punching Bag” in 2020, what have you learned about yourself as an artist? Has your songwriting process changed or developed since then?

Wallice: “The next EP that I’m working on is the first time that I’ve really collaborated with producers other than Marinelli. Artists like Radiohead, Coldplay, and No Doubt were a huge influence for me growing up, and I’ve always aimed to create indie-rock and alternative music because that's what I grew up listening to. I’m finally starting to realize how to capture that sound!”

I know in the past you’ve spoken about finding inspiration through artists like Lana Del Ray and Weezer while growing up, is there anyone that you find yourself inspired by today? Or have those early roots of inspiration stayed consistent?

Wallice: “I think that I have literally listened to the same artists since middle school, but these past few years I’ve added more artists into the mix like Mitski and Japanese Breakfast. But I’d say those early inspirations have stayed the same and always been there.”

Being a consumer of music, what’s the first thing you notice when listening to something new?

Wallice: “I think that the first thing I notice are the lyrics. I try to unpack what the artist is trying to say, especially if I don’t quite understand it at first. There’s a certain style of lyrics that catch my attention, and it’s usually not the meandering ones, although there are a lot of artists who do that really well.”

I don't even know how to ask a question about this, it’s so exciting! You’re supporting The 1975 in Australia and New Zealand soon, how are you feeling in anticipation of that, and how do you go about putting together your set when it’s a show on that big of a scale?

Wallice: “I have no clue! I’m very excited, I’ve never played venues that large. I bought some fun new clothes to get myself prepared, but I think the best way to do it is just to do it!”

Thank you Wallice, for your time and super sweet vibes. For everyone reading, keep an eye out for Wallice, she’s an artist with an exceptionally vibrant future ahead!

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BARNEY BONES: INTERVIEW

March 17, 2023

by alex grainger

Barney Bones recently released his single “Lifeline.” The Grammy nominated artist shares a personal story of his own fear of abandonment in relation to the toxic cycle of nightlife. This “west coast hip hop reimagined” track is one which thematically and sonically explores contradiction as his mood never matched the night life environment he found himself in. In an effort to run away from personal struggles on these nights he would search for a lifeline to “keep [him] at bay.”

Barney has had enough of being called a “secret weapon” and his solo work came as a result of pure boredom and knowing he has nothing to lose. Born and raised in South Central LA, he finds South Central resides in each piece of work whether it’s welcomed or not. Not only just in “Lifeline” but also in his upcoming EP Escapism, Barney is experimenting and pushing the boundaries of rap and “of what it’s about to be from South Central in this music.” Read more about “Lifeline” and Barney Bones below!

“Lifeline” covers the topic of fear of abandonment and its relation to the toxic cycle of nightlife. Can you explain this story more?

Barney: “Oftentimes, it felt like I started being out for the sake of being out. Which sort of led me into situations that were a direct byproduct of drinking. It was like every other night I was looking for a lifeline, to keep me at bay. I had to get out of that shit, honestly.”

Why is it important for you to share this story?

Barney: “Some people find comfort in calling themselves ‘social drinkers,’ out of the idea that it’s impossible to deal with swarms of people while you’re sober. At least I can’t and I know I’m not the only one. That’s how some relationships end up happening, because the person you turn to becomes the haven from whatever it is you’re running from, but all havens ain’t safe.”

Can you explain the creative process behind “Lifeline?”

Barney: “Last year during the week in-between Coachella dates, I got in with Tommy Parker and Smoko Ono. They’re fairly easy people to work with. Everyone was just throwing paint at the wall. I was in the booth trying different melodies and flows, Tommy was laying his background vocals on a handheld mic and Smoko was putting it all together. It’s easy to work with people who understand what they’re looking for, it makes collaborations feel cool.”

“Lifeline” is a “smooth hip-hop meditation.” How does the sound you’ve created for “Lifeline” drive the narrative of abandonment and toxic nightlife?

Barney: “I’m not into really conscious, soapbox type shit. I feel like most people’s approach to an idea like this would be more boom bap. I was more so thinking of how internal and external environments are oftentimes contradictory. Like, internally I could be thinking about dark shit, but on the outside I'm at a party with really, cool ‘supportive’ people who keep handing me bottles to take pictures with (lol). Most times my mood doesn’t match my environment, so I don’t know man, that’s what speaks to me.”

How does the sound of “Lifeline” represent the unique sound you are creating as an artist?

Barney: “‘Lifeline’ is special. I wrote it at a time when I was listening to a lot of Calypso music. Hella Lord Kitchener, Small Island Pride and Mighty Sparrow. I was obsessed, because of the rhythms the MCs evoked and the storytelling. It sounded like very melodic rap, but was from the ‘60s, crazy shit. It also has a lot of atmospheric textures. I’ve been experimenting a lot with creating spaces with my voice. Pushing the boundaries on what a rapper can sound like.”

As a prolific songwriter, what pushed you to release tracks of your own?

Barney: “Boredom. Most artists are scared to take any risk when making songs. A lot of them don’t have any vision either, they just rather look at the songwriter for everything. I deadass would watch artists do interviews or go on Rap Genius and break down lyrics they didn’t even write. Another thing is that songwriters are paid shit for their contributions in music. Unless you’re writing songs for the top 5% of artists on the radio or strictly focusing on sync, congratulations, you’re back to working in the stockroom at Best Buy.

I got some great advice from Terrace Martin, he made it sound like it was a no brainer for me to do an EP. Which for some reason I had been scared to do for so long. So I got in the studio and just started making shit.”

You mention how Terrace Martin encouraged you to go solo. What words of confidence did Terrace provide to push you to explore your solo career?

Barney: “Well, I guess it's because a couple of the ‘new’ artists he was working with were hitting me to come through to write with them. Over time he realized I was dope, but wondered why I never tried to do it myself. He told me to go for it, because I didn’t have shit to lose, y’know, I can’t just give my sauce away all the time.”

How different is the feeling releasing your solo music compared to collaborating with other artists on their own releases?

Barney: “I used to hate when niggas would call me a, ‘secret weapon’ or the ‘secret sauce,’ that shit is out. The reception towards what I’ve done has been great. Not only do I get to try to push boundaries with this shit, but the added visual components allow me to take it even further. It’s like using all of your senses for the first time.”

You were born and raised in South Central. How does being from South Central impact your music? How if at all does it make its way into “Lifeline?”

Barney: “South Central is embodied in everything I do, whether I like it or not. Snoop Dogg was definitely an Eastside hero when I was younger. You heard him playing at the football games, the skating rink, wherever. He’s sort of like the blueprint for me musically. If you listen to him on the Rhythm & Gangsta album he’s on there performing high level pop, but still crippin’!

‘Lifeline’ is West Coast hip hop reimagined. It’s what it would sound like in the fragments of a dream. I want to push the boundary of what it’s about to be from South Central in this music shit.”

“Lifeline” leaves us all wanting to hear more. Are you working on any new projects or music we can look forward to?

Barney: “Thank you! I’m dropping an EP April 7th, called Escapism. It’s me sort of diving into the idea I mentioned early about contradiction. It’s a concept album and I’m hella proud of it. There’s some house on there, some rap, some alternative, we are pushing the bar out here!”

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LILY WILLIAMS: INTERVIEW

March 15, 2023

by lauren kovolenko

Lily Williams has the soundtrack to your next coming-of-age novel. With a soothing voice and introspective song process, she wows every time! Read on to learn more about the process of her music as well as where she wants to go from here.

Where did your songwriting influence come from?

Lily: “I've always loved to tell stories. When I was a kid, I loved writing poetry and reading! My mum started me in piano lessons when I was very young, and the first song that I ever wrote was about a close family friend passing away when I was ten. As cliché as it is, I think I always used songwriting as a way to process my feelings and express the things I didn't really know how to say.”

Your music gives major “main character energy.” How do you successfully tell a good story through your music?

Lily: “Thank you! It's funny you say that because I'm definitely not the main character in all of my songs! Some of the songs on the project are 100% autobiographical, whilst others are about my best friend's heartbreaks, or inspired by poems and books that I love. I think telling a good story starts with being passionate about what you have to say. I can't write a song unless I'm excited about a concept or lyrical idea.”

Congratulations on the release of How The Story Ends! How would you describe it?

Lily: “I'd say that this project is one love story told chronologically over the course of ten songs! It begins with a crush and falling in love with your best friend, which is outlined in ‘I Hope You Think of Me.’ The story then evolves into being madly in love and not wanting it to end, which is told through the songs like ‘Rich’ and ‘Let Me Be The One.’ The final songs then take a turn as we see this love story falling apart, in songs such as ‘When All The Love Is Gone’ and ‘Kinda Like The Heartbreak.’”

Who inspires you the most to songwrite?

Lily: “This is such a hard question because there are so many people! However if I had to just pick one person I'd have to say myself!!! At the end of the day, I started writing as a way of processing hard and beautiful things that happened in my life. And I think that even if no one else ever listened to one of my songs again, I would still be songwriting for myself (and for my mum, so maybe it's her!).”

Do you have a favorite song/lyric you’ve written so far? Why?

Lily: “I feel like this changes all the time! In ‘A Little Good Left’ the last line says, ‘If you're still feeling, there's some type of meaning, in these days that number life. And I'm convinced there's still a little good left to find.’ I wrote this song in the middle of a Covid lockdown, I was feeling so hopeless and stuck. This song reminds me that no matter what, there is always a reason to keep going and a little good left to find!”

Are you planning anything else for yourself this year? Touring?

Lily: “I'm so excited about working on my next project! I'm also looking forward to performing more and hopefully at some point doing an opening run for someone on tour!”

Life outside of music is surely different, what does yours look like?

Lily: “I live a little outside of LA, in Huntington Beach! My husband is a worship pastor so we spend a lot of time at church (first ones in, last ones out type of deal) which I honestly love! We have such amazing friends and love hosting people for dinner (where I do none of the cooking aha), going to the beach (all year round), grabbing coffee, and I am obsessed with reading! Being born and raised in London, I love the weather here, so when I'm not working you will probably find me somewhere laying in the sun!”

Is there any advice you would give to young artists up and coming?

Lily: “My main advice would be to keep going! Pursuing a creative career isn't always easy, and honestly there were so many times that I felt like giving up. But I truly believe that if you keep going and keep working hard the right door will open at the right time.”

What’s one milestone you’d like for yourself in the next year? Personal and musical.

Lily: “Musically, I am really trying to get more confident in performing! When I first moved out to LA two years ago, I was set on being a songwriter for others, and so performing has been something that both intimidates and excites me! Personally, I'm running a half marathon in May! So that's definitely a milestone!”

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QUARTERS OF CHANGE: INTERVIEW

March 14, 2023

by emma schoors

“Belief in this band is everything,” Quarters of Change says, mid-way through their triumphant Deluxe US headlining tour. “We talk about our dreams in the present, as if they’re happening now. Maybe they are. We’ve hypnotized ourselves, in a way.”

Fans gather in clusters along the edge of The Roxy’s dimly lit interior, while others cozy up against its front rows, all in anticipation of NYC-based Quarters of Change’s sold-out return to Los Angeles. The show comes as the band — Ben Roter on vocals, Ben Acker and Jasper Harris on guitar, and Attila Anrather on drums — ride the exhilarating wave of debut studio album Into The Rift, which features breakout singles “Jaded” and “Chloe,” as well as an onslaught of upbeat fan-favorites, such as “T Love” and “Dead.” Enthralling riffs and alt-rock appeal has pushed them past the 100k follower mark on TikTok, and their monthly streaming numbers have enjoyed a steep climb. The support shown by fans online all but halts in-person; that much is clear as I watch the guys ahead of me in line hash out who’s going to borrow Harris’ cream-colored Stratocaster for the “Kiwi” solo.

The onstage dynamics between Acker and Harris mirror that of Page and Plant, Perry and Whitford, or Clapton and Allman, in that they represent two distinct styles colliding in a massive act of faith. Harris looks over at his guitar counterpart often, wordlessly spouting off-the-cuff riff ideas as they happen in the in-between moments of “Ms. Dramatic” (whose studio version “had an arrangement that changed tons before arriving at the final,”) and “Dead.” “Jaded” finds Anrather at his most stalwart, while Roter commands the crowd under cover of sunglasses, warning: “I got a bulletproof jacket that I wear around, just to make sure there’s no love arrows arriving at my door.” This forewarned wall falls by the time “Chloe” rings through the intimate venue, reigning as one of the best-received tracks of the night.

What cannot be emphasized enough about Quarters of Change is Roter’s magnetism and natural pull as a lead singer. As the set nears its end, he’s covered in sweat, backlit by a warm white spotlight, delivering “Sofia” with nothing but a red electric guitar backing him. Having that stripped-down moment with the crowd re-energizes things, and “Rift,” their debut album’s title track and the final song of the night, is welcomed with resounding applause. Watching Quarters of Change feels like watching a well-seasoned band return for a rare intimate show after years of stadium tours. Without prior knowledge of the group, you’d assume they’d played Madison Square Garden a few times already. That’s how in the pocket they are, so early on.

“It feels like ‘Blue Copper,’ ‘Jaded,’ and ‘Chloe’ have reached their fullest form on this tour. People are singing the loudest to those. ‘T Love’ obviously is such a special one too,” the band says, “and has been since the first time we played it live.” The track’s beloved chorus soars live with the help of Acker and Harris’ backing vocals, and Roter eagerly asks the crowd to help him out once the second chorus arrives. They do, as a choir of “Light me up, I just can’t stick around” fills the room like blinding sunlight. When I ask the band how things are going on tour so far, that affection seems to have stuck. “Tour life has been treating us phenomenally,” they say. “The sunset is shining through the van window, and we’re feeling lots of love and energy.” Maybe it’s the crowd’s palpable adoration that’s warming the band, or the sense of purpose found in pursuing their arena-sized ambitions. Either way, touring looks good on them.

As my eyes wander to the back of the stage, Anrather’s Blondie T-shirt comes into focus. Blondie are fellow New Yorkers, so it bears out something he said the first time I interviewed them. “The Strokes and classic New York bands are all really influential to us musically,” the drummer says, “and just the fact that they came out in New York and became so big is really, really, really cool.” (In a British heavy-metal twist of fate, Anrather cites Motörhead as one of his favorite bands.) There isn’t a set formula for evolving from those influences to an expansive original sound. “We try to diversify the writing process,” the band says. “Oftentimes a song will start with a guitar part from Ben Acker or Jasper, but they can also start with a groove from Attila or a melody from Ben [Roter]. They can also start from simply listening to a song all together and being like, ‘We’ve gotta make something like that.’” There is one non-negotiable: “Our best work comes when the four of us are in a room together.”

“Everyone in the band is very critical and active in the writing process,” the band says. “There is disagreement all the time, but we see that as an advantage. No one here is emotionally weak, and it doesn't become static when one person doesn’t like another’s idea. We’re all respectful.” They put their working compatibility to the test late last year, and what resulted is a healthy bulk of brand new material. “We took a two-week writing retreat to Woodstock, NY in December. We were shipped up in a van (city kids can't drive), and put in this beautiful house to ultimately write eight new tracks.” Their most recent single, “To Let Go,” marked the end of the Into The Rift era releases, and they’ve begun unveiling new material at live shows across the US. Because touring has become such a centerpiece of the band, I break the string of serious questions to ask what each member’s go-to gas station purchases are on the road: “Attila is getting a beef jerky stick, no doubt. Ben Roter has Cheetos or Cheez-Its. Jasper probably bought some funny sunglasses or a state-specific necklace. Ben Acker is drinking water and eating almonds.”

On my drive home from The Roxy, Jackson Browne’s “The Load Out / Stay” makes an appearance on the radio. I’ve always taken songs as signs from the universe, funneled to me as divine confirmation I’m where I need to be, or as lyrical commentary on something I’ve experienced. “We just finished four back-to-back Northeast dates, and are now back in the car on the way to Chicago,” the band says in our most recent interview with them, as Browne sings: “We’ve got to drive all night and do the show in Chicago.” The lyrics are haunting in their accuracy, penned nearly 50 years ago yet forever in-tune with the ageless act of touring. “When that morning sun comes beating down, you’re gonna wake up in your town, but we’ll be scheduled to appear a thousand miles away from here,” Browne sings. As the song transitions to Browne pleading for just one more song, I’m reminded of one of Acker’s final comments of the night, mid-encore: “We’re not done yet.”

That timeless, all-consuming compulsion to play is in Quarters of Change’s blood. It’s in every one of Ben Acker’s clever guitar licks, and each of Attila Anrather’s well-spaced yet emotionally charged drum fills. It's Ben Roter dancing around in a fan’s pink cowboy hat during “T Love,” and Jasper Harris leaning into the audience as if his guitar solos are solely powering him. Passion is an endlessly renewable source for this band, proven by their individual abilities as players, as well as their joint mystique. They’ll be far away from Los Angeles by the time you read this in the interest of providing thousands more fans across the US with the irreplicable magic of live music, which is all the more reason to catch them the next time they play a show near you.

It’s a breath of fresh air to speak to a band with such intense faith in their imminent success. They know they’re headed for arenas. I wanted to know, more than any question about the past, what they envisioned Quarters of Change to look like at its peak. What struck me most about their answer? It’s in the present tense. “We hear music that makes the world feel more than they did yesterday. We see stronger bonds between the four of us. We see ourselves working with our heroes,” they say, citing Inhaler, Last Dinosaurs, Red Hot Chili Peppers and The Strokes as bands they’d like to tour with. “We see ourselves waking up everyday excited to do what we love.”

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