DBA JAMES: INTERVIEW

April 27, 2023

by chris richmond

dba James is everything an independent artist should be. He's completely and utterly singular in his vision, with each of his sonically-fascinating tracks feeling like an insight into the inner-workings of his mind. The genre is rock with a grungy twist, with a definite sense of rough-and-ready, homemade-ness permeating the soundscape. It all makes for a compelling listen, and we were lucky enough to chat with dba James about his process when it comes to song creation, his career so far, and his plans for the future.

Thank you so much for chatting to us, James. Your music is super interesting! Your single “45” is out now. What was the inspiration behind the creation of the song? How did you know it had to be a single?

dba James: “Thank you! ‘45’ came out all at once, it took about 30 minutes to write… I usually know a song has to be a single if it arrives that quickly. It’s about craving solitude while living amongst millions. I think people have to do work to be ok alone, ‘45’ is what that work sounded like for me.”

Your big hit is “Trad Future” with over 200,000 listens in Spotify. What’s the story behind that song? What was your headspace like when that song came to fruition?

dba James: “‘Trad Future’ is about the world ending while I’m in a (rented) Range Rover. I hate peddling existential terror but it’s on my mind a lot. This song is a picture of the apocalypse from the perspective of an excellent consumer. Some might repent at the end, but this character embraces it. I think I’ll totally lose it when the world ends which is why it was so fun to write from this vantage point.”

What’s your favorite song of yours that you’ve released so far? Is there any that you’re particularly proud of?

dba James: “‘Trad Future’ was one of the first times I forgot all methods of production and just did what sounded good. The song is clipping, poorly mixed and like way, way too loud. But it’s perfect for me.”

What’s your creative process? How do you go from not having a song to having a song?

dba James: “It’s always a mantra stuck in my head. If it manifests in real life (subway ad, stranger talking, etc.), I write it. A lot of these mantras come when I pray. Some I’ll keep for myself, some become songs.”

Who are your musical inspirations? What sort of space in the musical sphere would you like to fill?

dba James: “My influence ranges from Marlon Dubois to Tom Petty. Some SoundCloud remixes and demos from friends have been influential too. Rock is the medium, but the exciting part for me is changing the color of the formula. I love it when people listen and say they’ve never heard anything like it, even if they’re lying!”

You had a gig on the 20th of April in New York at Heaven Can Wait. How do you prepare for something like that?

dba James: “4/20 baby! I just rehearse a lot and stretch. Maybe I’ll have a drink or two depending on what I ate that day. I’m usually running around right before I play, I love the idea of having to snap into it and get on stage. My goal for shows is to spread my energy from the first row to the door. Just send it to someone who wants it. I have way too much. The songs themselves are secondary to the performance in my mind. If I leave exhausted, I did okay.”

You call your live shows a “Day Off.” What’s the story behind that?

dba James: “It’s called Day Off because it’s what I’d do on the weekends even if I had a different life, like a job and everything. I’m lucky to play and when I do, it kind of feels like I’m skipping class.”

You’re a relatively new artist with your first single released just last year. What are some of the difficulties of navigating the machine that is the music industry as a smaller artist?

dba James: “Constantly explaining yourself is necessary as a new artist. It takes a long time for ideas to spread, so being at the beginning of one means I have to repeat myself a lot, but I’m fine with that. I wouldn’t trade this period for anything.”

What have been some of your highlights of your career so far?

dba James: “Hitting capacity at my first Day Off was special. It’s cute and tiny and the crowd was great to me. Thank you to whoever came if you’re reading this!!”

What are your goals for the next year or so? What would you like to achieve? Is there an album coming?

dba James: “I want to write a ton more songs and keep communicating with people. One of the best parts of the craft is aligning with those I’ve never met. A second EP is up next for me. I want to do more interviews like this too… some critical thinkers in here! Thanks for all the great questions. :)”

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BILLY LOCKETT: INTERVIEW

April 26, 2023

by alex grainger

Abington Grove is a sonic glimpse into a “small frosted window that looks into” the brain of Billy Lockett. Music is healing and for Lockett, his debut album gave him the opportunity to spill the contents of his mind into songwriting and offered his life a sense of purpose. Abington Grove, written in and named after his childhood home, was years in the making and acted as a vehicle of therapy. The process began while Lockett was still in the depth of a drug addiction, but as he began to love his work, he was able to become clean. He’s now happy, healthy, and after spending his life trying to find who he is, Billy reveals, “now I’m just me.”

Cleverly, Lockett opens with “Hard Act To Follow” a song listener’s have known and loved for years, but don’t get too comfortable. Lockett let go of control and allowed each song to lead, which naturally composes an album of sounds only defined by ups and downs. Each lyric and beat are not only a piece of his candid story but are laced with such heavy emotion. Abington Grove is the product of an inspiring story of a musician who was lost for so long and is now fulfilled, has found his sound, is finally living in the present, and again is truly happy. Read more about Billy Lockett and Abington Grove below!

Abington Grove is a journey through the many stages of your life from love, addiction, self-doubt, and euphoria. Can you tell us a little more about the story you are sharing through the album?

Billy: “Yes, no problem. Ao the spine of the album is around mental health generally speaking. I think each song represents a difficult situation and how I dealt with it in my mind. I kinda intentionally mixed the happy and sad songs closely together to give the listener an up and down feel similar to how your brain is day to day. For me personally, one day I can be in a great mood and the next I’m on deaths door, sometimes for no reason. This album is basically a small frosted window that looks inside my brain.”

You mention how creating Abington Grove has been therapy. What role did this album play in overcoming and healing your addiction?

Billy: “Yes, this album has been a huge help! Lyrically, because I could get everything out of my head and lifestyle wise it has given me a purpose. It gave me something worth doing instead of drugs. As the album was created over such a long time, some of the songs were made whilst I was still on drugs but throughout the process it started getting easier. I think when I started loving my work I started to get happier and that made getting clean easier. Obviously it’s not the same for everyone, but for me personally when I love what I’m creating, doing everything else in life feels easy. When I don’t, or I’m searching for something that works, it can be a tough hole to climb out of, but it’s all part of the process.”

Abington Grove was written in your childhood home. You mention how “partying was the routine” in your house growing up and that you’ve experienced dark times in your family’s home. Why was it so important for you to settle back in your childhood home to create this album? How if at all did it heal you? How does your childhood work its way into the message and sound of the album?

Billy: “Abington Grove was the house I grew up in so there are a lot of memories. My dad was a party animal but he was many other things, both good and bad. We had a very strange relationship. My mum and dad broke up when I was eight and from then on it was just me and my dad. From that day on we were more like two mates living together, until he started drinking heavily, got cancer and things became very ugly from about 16 onwards. He was an incredible, talented, funny, kind, brilliant man but a terrible parent and could be a real monster sometimes. So the house is him, us, everything. It couldn’t be called anything else in my eyes.”

You touch on how after connecting and working with Barney Cox, you finally had fun making music. Can you walk us through the collaborative creative process? What does it mean to you being able to create the music you’ve always dreamt of creating?

Billy: “Yeah, finding a good producer is everything! I’ve struggled for a long time to find the right guy, but Barney is that for me. I can’t see myself making music with anyone else for a long time. He makes the whole process feel fun, and when it’s fun, it’s easy. It’s a total dream come true creating music I love, my managers and label let me have complete creative control so life really does feel great at the moment.”

How did you find your sound? How do you feel Abington Grove represents your own sound as an artist?

Billy: “So the main thing I love about Abington Grove is it doesn’t have a sound, or at least if it does it was totally unintentional. I just went wherever the song wanted to go. Working with Barney taught me to let the song tell me what to do. Trying things, changing things, tweaking tiny bits here and there for months. I really miss making music actually, I can’t wait to get working on the next album and this one’s only just come out! [laughs]”

Abington Grove opens with the new version of “Hard Act To Follow.” Why is it important for you to open the album with this track’s message and sound?

Billy: “‘Hard Act To Follow’ was always my ‘big’ song in the early days so I felt it was only right to bring it back at the start. I think Goldlink really adds a great feel to the song too. I also like the idea of starting on a song everyone assumes the album will be like and then pushing everyone straight off a cliff with the second track ‘Not Okay’ to kind of say ‘time for a new Lockett.’”

“Not Okay” is your favorite song off the album. Can you tell us a little more about what makes this track so special?

Billy: “‘Not Okay’ is a ‘how far can I go’ in terms of sound, I just wanted to make something that packs a punch. Notoriously my ‘big sounding, big production’ songs don’t work as well as the piano stuff with the fans, but with this one I just wanted to make something huge and angry. [laughs]”

“Don’t Worry” allowed you to create a track of hope and positivity. The same pop-radiant sounds find their way into various other songs throughout the album. Why was it important you include more sonically upbeat tracks such as “Sushi” and “Freaking Out?”

Billy: “I think, again, I never really aimed to make an upbeat or down beat track, it was kinda just how the songs wanted to go. ‘Freaking Out’ just made sense as an upbeat track and ‘Last Thing On Your Mind’ made sense as a ballad. Believe me when I say we always tried both ballad and upbeat versions of every song but it always seemed kinda obvious sonically which was which.”

“Don’t Be So Hard On Yourself” closes Abington Grove. What makes this song the perfect end to such a vulnerable story and album?

Billy: “Yeahhhh, I love this song, I wanted to end on a positive note because after listening to the whole album of ups and down, at the end of the day you can only do your best and that song is about saying that doing your best is enough and you are enough.”

Once the album was complete, you asked yourself “now what?” How are you feeling after the album’s release?

Billy: “Yeah, that's very true. The ‘now what’ thing is tough, but luckily it’s been a success so I’m incredibly grateful to have so much work coming in. It’s been a long journey to make this so I’m just embracing the promotion of it. It’s a nice feeling to finally be able to share it with everyone.”

Now it’s my turn to ask, “now what?” What can we expect from you in the coming months?

Billy: “Now I’m just going to be doing promo and touring as many places as I possibly can.”

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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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