BEST EX: INTERVIEW


by martina rexrode

photo by best ex

After getting her start deep in the punk scene in the band Candy Hearts, touring with pop punk powerhouses, and playing Warped Tour, frontwoman Mariel Loveland adopted the moniker Best Ex and switched gears. The haunting, hazy synths that inhabit Best Ex’s debut album With a Smile are worlds away from Loveland’s past endeavors while also staying true to her refreshingly vulnerable lyricism. We spoke to Best Ex about everything surrounding this debut album as well as a brief dive into what led Loveland to where she is now.

Congratulations on the release of your debut album! Is there any way to describe how it feels to have your first full-length project out in the world?

Best Ex: “It’s honestly a day I never thought would come. I’ve spent years trying to find the right sound and saving for studio time. I’ve worked so incredibly hard, both with my art and the business side of things, I just hope people give it a chance!”

What inspired the title of the album, “With a Smile?”

Best Ex: “The title track, before I had named it, inspired the album title. I was really racking my brain trying to think of what encompassed the themes on this album. I wrote the title track very early on. One of the first I wrote for the album. Throughout the whole writing process, the line ‘I’ll swallow my fears until my belly’s full and I’ll go outside with a smile’ had been constantly in the back of my mind, I feel like it just says so much, particularly about the way women are pressured to always be pleasant in public, but also the way we’re supposed to look at the atrocities happening in the world — climate change, inequality, war, disease, inflation, the current state of the GOP — and just enjoy our lives like it isn’t happening.”

At its core, With a Smile seems to encapsulate the experience of being human in today’s world, particularly as a woman. What themes would you say that the album touches on?

Best Ex: “That’s exactly what the album is about. I wanted to create an album that showed a very raw side of womanhood, the kind of stuff that often hides behind the smile society tells us we need. Women are always supposed to be grateful, humble, obedient, kind, and ever-willing to sacrifice themselves for the people around them. But behind those pressures is a real person.

That’s not to say this is an album just for women. It really focuses a lot on humanness in general. I think everyone can relate.”

How does this album capture how your life has evolved since your 2020 EP release?

Best Ex: “My life is so different from when I started writing this. I literally hear myself coming of age on the album. I was very unsettled and insecure in 2020. I wrote Good At Feeling Bad before the pandemic, I’d recently gone through horrible breakups (both a romantic and friend breakup), I had lost my job as a writer and I was living in my mom’s basement just waiting to start my life and figure out where to go from there.

The pandemic really helped me sort myself out. When I listen to this album, I hear a person rapidly growing up. Today, I feel much more confident. I worked really hard to achieve most of the things I hoped for back then, this album being one of those! I went from my mom’s basement to an apartment in Brooklyn and it feels like a fairytale.”

Which songs do you feel sum up the album best in terms of its overall theme?

Best Ex: “Like I said before, I think the title track. It’s so much about wallowing in your house, sitting in that sheltered place where you look out on the world and let your insecurities and fears take the best of you.”

Is there any advice you received during your previous musical ventures that you still carry with you?

Best Ex: “Yes! There are two amazing pieces of advice I always think about from people far more successful than me. One is that no one will care more about your band than you do. That means you have to be your champion. If you don’t have a team, if you don’t have people around you who are going to be your cheerleader, you have to be your cheerleader and you have to do it all yourself. Don’t become complacent letting other people steer the ship, they’re not as invested.

The second piece of advice is a statement: ‘it will never be enough’ in regards to success. A music career thrives on external validation, and it’s very easy to think ‘if I get to this level, I’ve made it’ and ‘wait, actually, if I just do this one more thing, I’ve made it.’ But there will always be something else. You need to find your own validation within yourself and enjoy every moment. I look back at the times wherein the moment I thought I was failing, and I was in fact ‘making it.’”

What do you hope listeners take away most from With a Smile after listening from start to finish?

Best Ex: “I really just hope that listeners relate. I want them to hear something and think, ‘Hey, I didn’t think anyone else noticed that or felt that way,’ and know that I’m here, I do, and they’re not alone.”

 

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'NEW PLANET HEAVEN' / HUNNY: REVIEW


by emma schoors

Available now via Epitaph Records, HUNNY’s new planet heaven is a solid second full-length from one of California’s finest and most consistent alternative acts.

Named after collaborator and friend Derek Ted’s Los Angeles studio, the record was born of the band’s renewed “campfire-style” approach to melodic brainstorming. According to guitarist Jake Goldstein, getting out of their own way and being “less precious” about what goes out is among their new objectives, and it shows. This album is them kicking their feet up without handing over a bit of proficiency.

Drummer Joey Anderson suffered an injury before the band’s tour with Waterparks this April. Instead of canceling their appearances, the band pressed on with a drum machine. On opening night, they expressed that this was fresh to them, too, then delivered a set that saw the live debut of lead single “action → reaction.” Anderson’s return made his role in the band crystal clear. “Loser” earns its wings with his cheery backbeat, and his attentiveness as a performer meant that even in a crowd of mostly new faces, he found each and every HUNNY fan and sent them a smile and a nod. 

On the last night of tour the band sent “big star” into the stratosphere, sparkling with optimism and warmth to match its mid-June release. “Don’t stay in your old ways / Big star, can’t fall off it / You’re something supersonic,” vocalist Jason Yarger assures. Just over a month later, “solo” made its grand appearance. With an intro more attuned to the likes of 2018’s “Rebel Red” or 2017’s “Hard to Believe,” the third single deploys guitarist Jake Goldstein’s instrumental prowess alongside bassist Kevin Grimmett’s fiercely reliable lines.  

“89cc” poses the age-old question: “Would you still love me if I was a worm?” Directed by James Baby and produced by Rachel Goldfinger, the corresponding music video features Yarger wearily entering “worm world,” and eventually being transformed himself. One might expect the more radio-friendly tracks to have been chosen as singles. While that’s true, it’s nowhere near where catchy hooks or pop-rock resonance end on new planet heaven. “Not prophetic, but it feels meant to be,” Yarger sings on opening track “bothering,” welcoming the album in with luscious guitars and a treasure chest of quotable lines. 

“sixteen stitches” sees Yarger revisiting the uncertainty that defined 2015’s Pain / Ache / Loving (“I got a new scar from old decisions”) while “my own age” offers a slower acoustic burn. Motion City Soundtrack’s Justin Courtney is featured on “ring in ur ear,” a heavy hitter that harks back to previous collaborations like “Saturday Night” with Bleached. Joni Mitchell’s Court and Spark enjoys an unexpected mention on “nothing amazing happens,” and “all my luck” calls upon the romantic alternative charm that forged their fanbase in the first place.

With a string of album release shows set, HUNNY is looking forward to a successful end of year, made even sweeter by their upcoming tenth anniversary as a group. new planet heaven is a supersonic new direction for the Southern California-based quartet.

 

HARLEY LUCK: INTERVIEW


by martina rexrode

photo by julia drummond

Harley Luck is no stranger to reinvention. On October 6th, his single “Stay” will be re-released after its initial debut nearly three years ago, showcasing not only Luck’s musical evolution but his emotional maturity as an artist and a person. The single was written just days before the beginning of the pandemic and, even though it’s being released years after, there are still notes of those raw feelings within the lyrics despite its upbeat tempo. As an emerging artist in today’s industry, it can be difficult to separate yourself from others, but Luck’s career is off to a promising start — or, restart.

What inspired you to re-release “Stay” under this new moniker? How does this release differ from its original release?

Harley: “I chose to re-release ‘Stay’ because I didn’t feel like I related to it anymore. I wrote this song when I was 17 with an entirely different perspective than I have now. I decided to evolve the song into something new that I could relate to while still keeping the foundation from when I first wrote it. Now I can hear both my current and past throughout the song which I think makes it even more special to me. I’ve always loved the concept of artists ‘reimagining’ their songs, and I can see myself doing that going forward. Lots of songs get released and forgotten within a couple of years. Instead of letting them collect dust in my catalog I’d rather evolve them into a new entity and keep them fresh.”

In which ways do you see the emotional themes of the early pandemic (isolation, loneliness, uncertainty) still resonating today within yourself or within the music being made just a few years later?

Harley: “For me, the pandemic was a very isolating period of time. I was at home with my family in New York during the entirety of it. Throughout it my mental health went down the drain. It was hard for me to adjust to the lack of socialization because I was used to being surrounded by my friends everyday. Ultimately, the loneliness I felt is what pushed me to start writing songs. I used my journals to therapeutically express what I was feeling. From there, I started putting my words to music on my computer. I wasn’t satisfied with anything until I made the production for ‘Stay.’ It was the first song that I thought was good.

Now that I’m three years removed from that time, I still make music for the same reason. It’s a therapy for me to express what I can’t verbalize. Whenever I feel off I write about it and even if they don’t become complete songs, it still helps me get past whatever I was going through. I’ve never found anything more relatable than music because there’s so many emotions that the human vocabulary can’t comprehend but music can.”

Which songs, albums, or artists did you gravitate towards during those times?

Harley: “During this time I found a lifetime inspiration in Harry Styles. I had listened to his music before and had been a fan of One Direction since I was nine years old, but I never really followed his solo project. I started listening to his songs and instantly fell in love with them. I began following him, watching interviews, and listening to live performances he had done. Everything about him felt relatable and comfortable. As a teenager going through an isolating period of time I found his music to be a safe place. I admired his positivity, individuality, and sound, inspiring me beyond music. I was discovering myself and he was the perfect role model to look up to. Even now he is still my favorite artist and inspiration.”

Do any of those artists’ influences show up through “Stay”?

Harley: “Harry Styles’ album, Fine Line, was a big inspiration for ‘Stay.’ I didn’t realize it when I was making the song, but looking back I can hear similarities in his songs ‘Golden’ and ‘Watermelon Sugar.’ Each song means something unique lyrically, but I feel the same emotions through the music. Those songs are happy and energetic, reminding me of summer and sun. When I wrote ‘Stay,’ I had just gotten back from Hawaii (three days before quarantine went into effect), so I had the warm, beachy vibe on my mind.”

How has your own personal style and artistry evolved with this re-release?

Harley: “I’ve definitely evolved from when I first wrote this song. The transition from 17 to 20 has major changes in terms of your perspective on life. I wrote this song as a kid that liked music and wanted to explore it. Now, I’m an artist pursuing that passion. My fashion is bolder, my personal philosophies are more mature, and my music has a much wider range. I used to stick pretty closely to the indie rock genre, but now I’m exploring R&B and soul, which has been so much fun.”

Which aspects of the indie pop-rock genre would you like to explore as your career grows?

Harley: “My favorite part about the entire genre is the guitars. An indie guitar riff will always make me vibe and I think that is something I will take with me as I grow into different genres. I think guitar is the most sonically pleasing instrument and it’s really fun to play around with the different tones that you can make with it. If there’s a song that isn’t relatable or engaging but it has a guitar solo in it, I love it. One of my favorite songs that uses guitar perfectly is ‘She’ by Harry Styles. The rest of the song is amazing, but the guitar solo outro is incredible.”

What is the underlying feeling that “Stay” leaves you with this time around?

Harley: “The underlying feeling I have when it comes to ‘Stay’ is excitement. This is a pivotal point for me as an artist because I’m starting fresh. I have so much internal motivation to explore and evolve my music and this is just the beginning. I’m already planning ahead and testing new waters so I’m really excited to see everything come together.”

 

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LAURA VON MARI: INTERVIEW


by martina rexrode

photo by marcus giesen

Laura von Mari is carving out a singular path for herself in the music world with the recent release of her EP Forevermore. Even with a long list of influences from her earliest years, it’s hard to deny the originality seeping throughout each of the five songs. From complicated memories of an ex-girlfriend to more fictionalized songs crafting characters who explore unique perspectives, von Mari introduces herself to new listeners with an incredibly strong point of view. We talked to her about the new EP, her journey through multiple genres, and dream collaborations.

Congratulations on the release of your EP Forevermore! How does it feel to have this project in the hands (and ears) of listeners?

Laura: “Amazing to have it finally done and out in the world!”

How would you describe the energy of the EP as a whole to someone listening for the first time?

Laura: “Hooky, groovy and smooth.”

Do you have a favorite song off of Forevermore? If so, what makes it your favorite?

Laura: “At the moment it’s ‘Fog.’ It has such a hypnotic and relaxed vibe to it.”

Were there any songs that changed significantly between when they were written in 2019 up until now?

Laura: “Only ‘Forevermore,’ the title track. I worked with my engineer, Greg, to get it to sound more Y2K and have a cool breakdown for the bridge.”

How did your time at Goldsmiths College influence your way of creating music?

Laura: “It pushed me massively outside my comfort zone and asked me hard questions like WHY I even make music in the first place. It definitely exposed an inner layer I was keeping hidden.”

What influenced the genre switch from dance music to indie pop?

Laura: “Well, I was always writing pop music since I was young. It was actually in London that I got into producing dance music. Pop was just me returning home to my roots. But I haven’t given up making dance music and intend to keep going!”

Which aspects of the wide range of artists you grew up listening to (Britney Spears, Steely Dan, Debussy) did you tap into for this EP?

Laura: “All of them and none of them at the same time. This project feels singularly ‘me.’ But I’d say I lean on all of them as my foundation when it comes to melody-writing, pop groove, jazz voicings and spicier composition.”

Out of those artists, who do you think you’d create the most interesting collaboration with?

Laura: “Oh, good question. I think Steely Dan. I love their storytelling and the complexity of their compositions. I would learn so much crafting a song with them if I could go back in time and work with Don Fagen and Walter Becker together.”

 

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MOON WALKER: INTERVIEW


by emma schoors

photo by madison mcconnell 

“I think I’m always writing about things that I’ve yet to fully conceptualize or come to terms with,” Moon Walker’s Harry Springer says. “Oftentimes, the first time I’ll actually start processing something is when I’ll write a song about it. It’s either like a superpower, or a detrimental flaw in my development.”

With an entire discography written, produced, and performed in Springer’s bedroom, DIY is the name of the game for Brooklyn-based Moon Walker, a project formed at the height of the COVID-19 pandemic after The Midnight Club’s unofficial ending. Speaking “Truth To Power” is of the utmost importance lyrically — his 2021 debut record bears the same name, and digs through the gnarly aftereffects of consumerism, hive mentalities, dystopian governmental policies and more.

His most recent offering, “Give The People What They Want,” packs all the garagey fuzz of a Jack White record, but Springer has most notably been compared to T. Rex’s Marc Bolan. “That was a weird thing to deal with in The Midnight Club, because I would either force myself to write Bolan-esque love songs with cosmic, other-worldly lyricism, or I would let myself write political songs. Those two things don’t necessarily fit together that well,” he says. “Marc Bolan is one of my favorite lyricists, but I can’t do what he does. I’m glad I stopped trying to copy him.” More than anything, Springer hopes “the lyrics make people think,” a goal that has been met continually through his use of pointed imagery and blunt yet necessary callouts.

Moon Walker’s third LP, “Apocalypticism,” is due for release Oct. 20. In the meantime, we caught up with the rising performer to speak about translating thoughts into product, taking his material on tour, and more.

You’re in the midst of your US tour. What element of tour life has surprised you the most so far?

Moon Walker: “Considering how much driving and sitting around there is, I’m surprised at how little downtime I have. Maybe I’m just lucky to be touring with such fun crews, but I had a big stack of comic books that I was going to get through on tour and I’ve hardly had time to read any of them.”

Before forming Moon Walker, you were part of The Midnight Club, a band with a considerably different sound and artistic approach. What lessons did you take with you from that group, and in what ways did it fuel your understanding of musicianship?

Moon Walker: “The transition from The Midnight Club to Moon Walker was very smooth. I essentially developed all the skills that I use in Moon Walker while I was in The Midnight Club. There wasn’t much of a formal disbanding. I always liked making music alone, so as soon as I was able to produce and sing my own music, it made sense to make it a solo project. However, I learned a lot about what types of deals, partnerships, etc. to avoid. I learned a lot about what does and doesn’t work when it comes to making a career out of music.”

Can you take us through the genesis of your single, “American Dream Come True?” How did the concept for this one come about?

Moon Walker: “The song started with that vocal sample that you hear throughout the song. I got a decent chunk of the instrumental worked out before even thinking about the lyrical concept. The first vocals I wrote were the first verse, which set the tone for where the rest of the song had to go.”

How does this new single differ, either conceptually or musically, from past releases?

Moon Walker: “Conceptually, it’s pretty much the same as my other music. Maybe a bit more focused and direct, but it’s a theme I’ve explored on a good chunk of my discography. Sonically, it’s a pretty big departure. As I previously mentioned, I started the song with a gospel vocal sample. It was my first time using samples of any kind. The first thing that I was inspired to write was the bassline. Under normal circumstances, I think that bassline would’ve felt too much like AC/DC or something to me, and I would’ve scrapped it, but I was just so excited by how it juxtaposed the vocal sample. So right off the bat, I was going off in directions I would’ve never considered because of the sample.”

You’ve made a name for yourself across social media by writing songs in response to political extremism and late-stage capitalism, among other topics. Why did you choose this route lyrically, and what response do you hope it inspires in listeners?

Moon Walker: “This sounds so corny, but I really didn’t choose it. When I sit down to write a song with no agenda or intention whatsoever, it ends up being political. If I start writing with an agenda or an intention I can write other types of songs, but when I just let music pour out of me in a very authentic, unforced way, this is the lyrical content I end up with. That was a weird thing to deal with in The Midnight Club, because I would either force myself to write Bolan-esque love songs with cosmic, other-worldly lyricism, or I would let myself write political songs. Those two things don’t necessarily fit together that well. Marc Bolan is one of my favorite lyricists, but I can’t do what he does. I’m glad I stopped trying to copy him [laughs]. I just hope the lyrics make people think.” 

Out of your entire discography, which song has been the most emotionally difficult to write?

Moon Walker: “Easily ‘Nothing Can Save Me (From Myself).’ It’s still hard for me to listen to, especially when I’m down on myself or feel like giving up. But it’s also my favorite song I’ve ever made.”

Having formed this project during COVID, your ability to tour and promote your music in-person was halted. How has it felt to finally share these songs with live audiences, and see their reactions in real time?

Moon Walker: “It feels surreal. When I wrote this music, the last thing on my mind was performing it. I had no idea when I’d be able to perform live again, so for my own sanity, I had to force myself to get comfortable just making records, not knowing if they’d ever be played live. Getting to hear people singing with me and talk to them after the show about what the music means to them is truly the most incredible thing I’ve ever experienced. It reminded me that THAT is the point of music — to connect with people.” 

You shared in a recent Instagram caption that you’re better at making music than you are at articulating yourself. At the risk of making you articulate yourself, why music? Why is this the medium you’ve stuck with time and time again?

Moon Walker: “Good question! Probably because it was the first one I was good at [laughs]. Whenever I go to draw, paint, etc. I get so frustrated because I have so many ideas that I want to get out and so many emotions that I want to express, but I simply don’t have the skills to know how to do it. Literally the only medium that I am skilled enough at to translate my thoughts into an actual product is music. I’ve been writing music since I was like 10, so I kind’ve trained myself to express myself through music. Throughout my life, the first way in which I process my emotions is through music. I think I’m always writing about things that I’ve yet to fully conceptualize or come to terms with. Oftentimes, the first time I’ll actually start processing something is when I’ll write a song about it. It’s either like a superpower or a detrimental flaw in my development. Time will tell!” 

 

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