JULIA LOGUE: INTERVIEW

April 25, 2023

by chris richmond

Julia Logue is an up-and-coming artist based in Portland, OR, and her new single, “Back Of The Party,” is out now. Her music is imbued with a folky soulfulness that evokes the likes of Lianne La Havas or Solange, gentle but emotive, and full to the brim of feeling, all set to a whimsically acoustic soundscape. Julia's voice itself is delicate and stirring, delivering the affable lyrics with good-natured grace. She's been slowly building an audience since 2020, but this year feels a bit special for Julia. We were lucky enough to speak to her about her journey so far, her new music, and her musical inspirations.

Your new single, “Back Of The Party” is really great — congratulations! What was the lyrical inspiration behind the song? How did the track come about?

Julia: “Thank you! The lyrical inspiration started from a pretty specific and repeated experience of seeing someone I had a complicated relationship with at parties. I think I really romanticized this person at the time. The meaning of the song has deepened and shifted since its original creation, but that's where the lyrics began.”

What's your process when it comes to songwriting? How do the ideas come to you?

Julia: “My process usually starts with my electric or nylon string guitar and some jumbled lyrics. I also occasionally start with keys, but yeah, usually guitar and vocals. I've also written collaboratively with a few different players and my producers, Mitch Glad and Justin Kiatvongcharoen. 'Back Of The Party' was created with just that first line in mind (‘find me at the back of the party, I've had a bit too much to drink’), and some bossa nova-style melodies. I was in my senior year of college at the time and I wrote the full song in my room almost in one go. That only happens occasionally for me, but 'BOTP' came to me pretty quickly. The lyrics took some revision, but the bones of the song remained the same.”

What influenced the soundscape of the song? How did you create such a lush but melancholy atmosphere?

Julia: “I love João Gilberto, Astrud Gilberto, Antônio Carlos Jobim... the list goes on. I grew up listening to bossa nova music and I knew that style would come out in my music eventually. At the time 'BOTP' was written, I was in a classical guitar ensemble at my college and as well so I was playing my nylon string guitar a lot. The soundscape was fully realized when Justin started to produce it. I wanted to push this song into a more vintage and psychedelic world than anything I had put out in the past and Justin nailed it. We decided to add harp and that really pushed the song into that lush atmosphere. The harp influence for me was Dorothy Ashby!”

You've been releasing music since 2020. What are your favourite songs that you've released so far? Which ones are you particularly proud of?

Julia: “I'm really proud of 'Here We Are', 'Fort', and this most recent release 'Back Of The Party'. Even though I think I've improved so much as a songwriter since my first EP called No Face, I can look back on that project and be really proud of how far I've come and how honest that EP is.”

How did you first discover you have a talent for singing and songwriting?

Julia: “My dad is a musician and was always playing guitar and writing songs so it felt really natural for me. I know so many singers say this, but I really was singing as soon as I could talk. I was always making up songs, even as a three or four-year-old, and when I started to create songs with full structures and lyrics, my parents and family were very encouraging. I think I realized that I had a knack for singing and songwriting in middle school when I began to share my music with friends and perform in more public settings.”

Who were your musical inspirations growing up?

Julia: “Just to name a few, Stevie Wonder, Bon Iver, Amy Winehouse, Bonnie Raitt, Hiatus Kaiyote, and Lianne La Havas.”

What are the different challenges between singing and songwriting? Which do you feel comes more naturally to you?

Julia: “I think singing and songwriting are pretty intertwined for me. The main thing for me is remaining honest and judgment-free during the creation process. Although that can be harder said than done. Singing as a practice comes more easily for sure. Songs and songwriting can be a practice, but right now, my songs and why they come to me feels like a mystery.”

Would you ever write for other artists, or are your songs too personal to you?

Julia: “I would definitely write for other artists. I often write things that don't feel totally aligned with my personal sound, but they still feel like solid songs. Maybe I'll explore that this year.”

What music have you been listening to this year? Whose albums have you been enjoying lately?

Julia: “Oh man, I have so many albums that have been on repeat this year. I've been listening to the album 11 by Sualt, Glow On by Turnstile, Songs by Adrianne Lenker, Absolutely by Dijon... I could keep going [laughs].”

What can we expect from you in the next year or so? Are you building towards an album?

Julia: “I can't speak on an album just yet... but more singles are coming soon! I'm really looking forward to sharing more!”

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SNØW: INTERVIEW

April 23, 2023

by alex grainger

Demons Can’t Find Love is an exploration of Snøw’s artistry. While the overall story of Demons Can’t Find Love is applicable to any headspace or situation listeners can relate to, Snøw shares his own raw story of his inner demons and the tendency to let them win through self-sabotage. The mixtape began as an exposition of his newfound production skills, skills that show his artistic initiative, dedication, and growth as he never expected at the beginning of his career to be both an artist and producer. In concert with production, this project features his range from his Spanish track of “Pero Ya Pasó,” to the opera and trap mix of “Final Act” to collaborating with Skinny Atlas and Laeland on the opening track “Nothing Left.” Snøw’s music is driven by connection. He aims to create a space through his music where listeners can feel less alone. Read more about Snøw and Demons Can’t Find Love below!

In this new chapter as an artist, you learned how to produce. How did learning production impact the dynamic creative process behind Demons Can’t Find Love?

Snøw: “Well, I made this project to show what I can do as a producer, so, it was fun to be the sole mastermind and creator of a project. Most of my released projects are collaborations and it feels rewarding to drop a few solo tracks.”

How did you grow as an artist through the creation of this mixtape?

Snøw: “I grew more confident on the production side of things because I never thought I would be an artist and a producer when I started making music.”

What’s the story behind the title Demons Can’t Find Love?

Snøw: “People can take it how they want to because it really can be applied to anything. But for me, it was about feeling like our inner demons make us self-sabotage sometime, so we don’t allow ourselves to be happy or involved.”

The opening track “Nothing Left” features Laeland and Skinny Atlas. Can you take us through the collaborative creative process behind the track?

Snøw: “We were on a trip in Chicago and went to CRC. I laid my verse down first then Laeland did his. We only took like two to three takes each and that was that for our parts. After, Skinny Atlas worked on production, and we released it.”

“Final Act” has the dynamic sound of “opera-style vocals with this trap beat.” How do you feel this song represents who you are as an artist and your own unique sound you have created?

Snøw: “I really like to experiment with different styles, so I think that this song just represents how unexpected sounds can be brought together.”

Why did you choose to release “Heart Failure” as the final track ahead of the drop of Demons Can’t Find Love?

Snøw: “Well, ‘Pero Ya Paso’ is a Spanish song dropping on the mixtape, so I thought a Spanglish track would be a good transition to that.”

The final track off your mixtape, “Pero Ya Pasó” is the only song not released as a single. Why did you choose to debut this song as it works to complete the story you share through Demons Can’t Find Love, instead of individually like the other five tracks?

Snøw: “It’s technically not the only track being released through the mixtape. I decided to include a bonus track called ‘A Ballad of Disregarded Prayers’ on the mixtape as well. But I really enjoy creating all styles of music. Up until now, I’ve only released Spanglish tracks showcasing that I’m bilingual. So I just thought this one would be a nice addition to my catalogue.”

Was there any song off the mixtape which was the most challenging to create? Is there a track you are most proud of?

Snøw: “‘Pero Ya Paso’ was the most challenging because I’ve never made a song completely in Spanish. It took me the longest to make and has been finished for a while, but I never thought I would drop it. And ‘A Ballad of Disregarded Prayers’ is my favorite track on the album because I really like the contrast of the melancholy and electric guitar. I just think this song is the most powerful on the mixtape which is why I made it a bonus track.”

Through your music you aim to take negativity and turn it into positivity. You also aim to create an environment where people know they aren’t alone. Why is this so important to you as an artist?

Snøw: “Growing up I listened to artists that were easy to relate to. I think it’s important for an artist to connect with their listeners. It makes people feel like you’re not the only the only person that’s screwed — or going through shit. I mean, people wouldn’t even listen to my music if it didn’t designate with them.”

What’s next for you in the coming months post-release of Demons Can’t Find Love?

Snøw: “I wanna continue dropping music that’s self-produced and maybe produce for other artists. I also really just travel the world and experience new environments.”

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GENEVIEVE STOKES: INTERVIEW

April 22, 2023

by martina rexrode

Genevieve Stokes is an alt-pop singer-songwriter who embraces vulnerability and honesty in her music. She takes inspiration from artists like Regina Spektor and Fiona Apple with haunting instrumentals and a clear creative vision. Her latest EP Chasing Rabbits is the first chapter of what will become a multi-project journey that introduces listeners to her innermost feelings. Check out Genevieve on Instagram (@chowdergiirl) to keep up with her journey!

Congratulations on the new EP! How does it feel to have these songs out in the world?

Genevieve: “Thank you! Release week is always nerve-racking for me, but now I just feel relieved and happy to finally share this project with people.”

You also released a music video for “Book of Memories.” What is the story you hope to convey with the visualization of your lyrics?

Genevieve: “I wanted the video to feel warped and chaotic, like being trapped in a thought loop during a bad trip.”

Where do you pull inspiration from for your music video direction?

Genevieve: “Mainly from movies! The Wickerman, Donnie Darko, The Lighthouse, and a few different Alice in Wonderland adaptations were my biggest inspirations for this EP.”

In what ways does the Catching Rabbits EP differ from your previous releases?

Genevieve: “I’ve always written very emotional music, but releasing this project felt uncomfortably vulnerable for me. The more honest my writing is, the scarier it is to share with people, but I also think that’s the kind of music people truly connect with.”

How did writing and creating this EP allow you to unlock and heal your inner child?

Genevieve: “I struggle a lot with shame and self doubt, so I’ve been working on creating music from a place of self acceptance — much like the way I used to when I was younger. I don't feel very healed, but I do feel more open to change and growth as a person/artist.”

Were there any specific influences from your childhood that helped you in doing that (TV, movies, music, books)?

Genevieve: “I was influenced by fairytales and children’s stories like Alice in Wonderland. My siblings and I would spend all out time outside creating fantasy worlds, and somehow we’re still living together and creating art.”

What can you tell us about how Catching Rabbits sets up the first chapter of a “storybook” that will become your future full-length album?

Genevieve: “I think of this project as the beginning of a long, multi-project journey where I’ll be using symbolism from the major arcana of tarot. My first album will be centered around The Tower card.”

What do you hope listeners can take from your EP?

Genevieve: “I just hope people resonate with it and want to stick around for more music!”

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A KID NAMED RUFUS: INTERVIEW

April 21, 2023

by alex grainger

Nostalgic laced indie-pop track “the cute girl from brewster hall” shares the all too familiar story of a kid named rufus’ first love. First loves are important and impactful. For Rufus this love came with more than one first, as they met “the cute girl from brewster hall” during their first year in the US and was the first experience they had with the physical and emotional intimacy culture of the Western world.

a kid named rufus’ highly anticipated debut album whatever works showcases range through not only the vulnerable stories of culture shock to love to coming out but also through how these are presented in an exploration of genres from indie-pop to alternative rock. Treating the album as a movie soundtrack, the third single “the cute girl from brewster hall” fits in as the bubbly rom-com. Their love story comes to life in the captivating Wes Anderson inspired music video. The vibrant cinematic video is a true representation of Rufus’ own visual identity. Take part in the sonically driven cinematic experience of “the cute girl from brewster hall” and read more about the kid named rufus below!

You wrote “the cute girl from brewster hall” as a gift to the girl you had been dating. Can you take us through the writing and recording process from when it was initially written to the completed single?

a kid named rufus: “Absolutely! The story behind ‘the cute girl from brewster hall’ is spot-on with the lyrics. I was working the front desk at Brewster Hall, a freshman dorm at Syracuse University, when this very attractive girl swiped her ID. We were matched on Tinder the following day, and we started dating soon after. A few months later, I had the opportunity to travel to Los Angeles for work. While I was there, I met with my two go-to collaborators, Joe Kelleher and Mimika Muscillo, and we wrote and produced the first version of the song in one session. Joe and Mimika have been a part of a few of my projects in the past, including my debut EP, so creating this track was an effortless process. By the end of the day, the fundamental elements were done and I then took care of the production from my dorm room in Syracuse.”

The single “sonically walks along a tightrope of familiarity and excitement of the unknown.” It pushes the boundary of the typical indie-pop sound. What drove you to create this experimental sound and how do you feel it supports the narrative of “the cute girl from brewster hall?” Further, how does this sound fit into the overall sound of your debut album whatever works?

a kid named rufus: “I wanted to create a sound that was both familiar and excitingly new, something that could both be heard and seen. I wanted to capture the grandeur of a movie soundtrack and the commercial appeal of a pop hit. When I started working on this album I knew I wanted to create a production that was cinematic and experimental, but still within the confines of indie music. This was especially true for ‘the cute girl from brewster hall’ because the story behind it was so special and unique, almost like something off a rom-com film. By treating each song like a movie soundtrack, rather than individual singles,we were able to explore and create an album beyond the traditional boundaries of indie-pop music.”

“the cute girl from brewster hall” is, as you note, “deeply rooted within the overarching theme” of whatever works. How does this song about your first love fit into the story and message of whatever works?

a kid named rufus: “Living in the US for the first time was a huge shock for me, coming from Malaysia. My debut album, whatever works, reflects the struggles I faced during my transition: culture shock, financial struggles, anxiety, heartbreak, coming out, and being a teenager in a strange new world. It just so happened that I met the ‘cute girl from Brewster Hall’ during this time. This was my first experience with physical and emotional intimacy, something that is taken for granted in the Western world, but not so much in the East. The culture surrounding relationships, dating, and hooking up is vastly different in the US compared to other parts of the world. It was a huge learning experience for me that would have never happened if I had stayed in Asia.”

First loves are incredibly impactful whether through heartbreak, growth, or happiness. How, if at all, has your first love made a lasting impression on your life both personally and as a musician?

a kid named rufus: “I’ve actually avoided writing about love until now. My romantic life has definitely had a lasting impression on me, both personally and as a musician. I’m in a committed relationship now and my partner is incredibly supportive. Falling in and out of love has taught me a lot and has been crucial to my personal growth. Each experience has made me a better person and has shaped me into who I am today. I’ve become more inspired to write about love in my music now, which is something I hadn’t done before.”

The music video for “the cute girl from brewster hall” was inspired by Wes Anderson’s film style. What was the creative process behind visually translating this song into such an iconic and captivating inspired style? How do you think this Wes Anderson inspired video supports the story of your first love?

a kid named rufus: “When I flew to New York from Kuala Lumpur two years ago, I watched The Grand Budapest Hotel on the plane, and I was immediately enchanted by Wes Anderson’s use of symmetry, composition, and color. His style felt very representative of my own visual identity, and I wanted to capture that same feeling for my music video for ‘the cute girl from brewster hall.” The themes and colors of the song lent themselves perfectly to the whimsical and playful nature of a Wes Anderson-inspired video. It was a perfect way to express the lightheartedness of the song and the story behind it.”

“the cute girl from brewster hall” was the first music video you have ever shot. Walk us through the exciting experience of this 48-hour shoot? What was your reaction to seeing your first complete music video?

a kid named rufus: “I was connected with the production company Working Holiday based in Nashville, and knew immediately that Chase Denton and Frank Paris were the right people to collaborate with when I saw their treatment. A few weeks later, I went to Nashville to film the music video for ‘the cute girl from brewster hall,’ and we booked a retro-looking boutique hotel and hired an actress to play ‘the cute girl’ (shout out Nancy). It was my first time ever on a film set and it was quite a process; with a stylist, dressing room, call sheet and schedule, and having to do multiple takes of the same thing. When I saw the final cut, I was amazed; I knew it was going to turn out perfect. I’m glad I had the opportunity to shoot a professionally made music video, as I believe it is a great experience, and it’s been long overdue for me.”

“the cute girl from brewster hall” is the third single off whatever works. Why did you decide to release this as a single instead of debuting the song within the story of the album?

a kid named rufus: “I wanted to create an impactful moment for each of the songs on this album, rather than just focusing on the release of the album as a whole. There are so many amazing songs on this record that deserve to be highlighted, especially ‘the cute girl from brewster hall,’ so I decided to release multiple singles so that each one could have its moment in the spotlight.”

whatever works drops July 14th and takes the listener on the very personal journey of your first year in the United States. Can you tell us a little more about the story and sound of the album?

a kid named rufus: “whatever works is a deeply personal album that takes listeners on a journey through my first year in the United States. From culture shock, to financial struggles, to dealing with social anxiety and impostor syndrome, to falling in and out of love, to coming out — this album details my experience as an adult living in a new place. Musically, it draws from a range of genres, ranging from indie-pop to alternative-rock and everything in between.”

July can’t come fast enough… what can we expect in these next months leading up to your debut album’s release?

a kid named rufus: “We have a couple more singles and music videos lined up, all of which I can’t wait to share!”

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AVERY LYNCH: INTERVIEW

April 20, 2023

by alex grainger

Avery Lynch, having fallen in love with the pensive yet gentle melody she created in the calm of her room, knew she had to bring the story of “useless information” to life. A story studying all the pointless information she remembers about people she once knew. As the first independent release by Avery in two years, “useless information” came as a product of collaboration with her closest friends and biggest supporters. The single is the true and vivid essence of who Avery Lynch is as an artist — authentic, passionate, gentle, and observant.

What’s so brilliant about “useless information” is the obscurity of the thought. Avery’s ability to write with an observant outside perspective on a relationship or a specific feeling provides the vehicle and prompt to think deeply about, in this case, who you once knew. This track captures the beauty of music and the talent of Avery Lynch shown by how her mesmerizing melodies and introspective lyricism is able to reach listeners.

“useless information” shares the story of wondering where all the information you know about someone goes after they are out of your life. Can you take us deeper into the story? I’m curious to know, did you find where these pointless facts go?

Avery: “I noticed all of the little pointless things I still remember about people in my life that I haven’t seen or even spoken to in years. It’s kind of sad how you always know the most about the people who have hurt you the most. I remembered specifically my high school boyfriend and how I can still recall the street he grew up on, the sports he played, etc. And I still know my ex-friends’ crushes and their orders at restaurants and random things like that. To be honest, I don’t think the information goes anywhere, you just start to forget it little by little but most of it will just stay there. (Also so weird that there are people out there that you’ll never be close to again who will remember random things about you forever).”

“useless information” is your first completely independent release in two years. Can you walk us through the writing, recording, and producing process for this single? Looking back on your independent release from two years ago, how do you feel “useless information” shows how you’ve grown as an artist these last few years?

Avery: “I wrote ‘useless information’ with one of my close friends and favorite collaborator, Neisha Grace. It started with the chorus melody with the line ‘where does all the useless information go’ and I immediately texted her and we wrote the rest of it that next day. I recorded it in my room, and my boyfriend, Jordan (jordanlilvee) produced it. I wanted this song to be like my favorite songs of mine, production-wise, and feel the most like me, and Jordan has produced most of my songs that fit in that category. Looking back on my independent release from two years ago, I feel like this song has shown how I’ve really grown into my voice and my sound as an artist.”

What originally inspired you to create this song all on your own? Did you originally go into this song with a collaborative mindset or was it always going to be a solo endeavor?

Avery: “The moment I wrote the song I knew I had to keep it close to me. It’s my favorite song out to date, and I feel so much pride in my music when I keep the team around it limited. Doing it all myself with the help of my two biggest supporters and favorite people ever made the song the way it is now: authentic, passionate, and the most Avery song ever.”

It’s a difficult position to know so much about a person with no way to apply it once they are out of your life. While writing the song, did you ever think of anything you didn’t want to let go of from various relationships in your life? How do you draw the line of what to unlearn and maybe what to keep?

Avery: “To be honest, I’m glad that I still know things about people I don’t have in my life anymore. To me, that means that I cared about someone and learned from the relationship. Even if it ended in a fiery explosion it still matters that it meant something to me at some point. I feel like you don’t get to choose what stays and what goes, but it is kinda funny how some small pointless things you could never forget. Certain information just sticks for some reason.”

You mention how more in love you are with “useless information” than any song you’ve created in quite a while. Why is that? Are you in love with the story coupled with the accomplishment of the song’s independent release? Or is it something else entirely that you find so special about this single?

Avery: “My love for this song is the combination of a lot of things. For one, it’s the first song I wrote since I cut ties with previous management and without a distributor, meaning no one heard it before. That was something that felt so liberating to me. In writing the song, the melody is the first thing I fell in love with and the reason why I wrote the rest. There was something about the chorus melody that felt so good and so much like me that I was too excited to finish it to wait until my next scheduled session with Neisha. Then I kinda went as hard as I possibly could with the lyrics and it became my favorite thing ever. If I imagined the song being someone else’s that I randomly heard on my Discover Weekly on Spotify, it would be something I would save immediately and wish I wrote. All of that is why this song is so special.”

The song and its supporting visual elements were all created in your room. What about your room makes it a thriving space for your songwriting?

Avery: “I only ever write and record in my room and being able to have the visuals be taken in that space with just me in my sweatpants makes it feel very full-circle. It’s the room that the song was written, recorded, produced, mixed/mastered, and distributed. I just love that it’s all so me.”

How does “useless information” represent your unique sound as an artist?

Avery: “I think ‘useless information’ represents my sound as an artist so vividly. The delicate and almost observation-type writing when it comes to feelings and relationships and how weird they are is my favorite thing. I feel like the melodies and the lyrics are so me. I just think it perfectly matches me and represents me.”

What can we expect from you in the coming months? Any new singles?

Avery: “I have plenty of new singles I want to release, and one I am hoping to release in May. I’m very excited for this new chapter and I can’t wait to share what I’ve been working on. :)”

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