BONES AND JONES: INTERVIEW

February 15, 2024

by emma schoors

Bones and Jones’ latest EP, In Blue, marks the beginning of a year-long project that sees the Australian alt-rockers traverse genres, sift through decades of inspiration, and step outside their comfort zone as an entity with more moxie than ever.

The five-piece got their start as classmates in Geelong, and are now based out of an old apple orchard on the Victorian surf coast, where the new collection of songs were recorded. “The amount of physical space and tranquility that you experience here is a big inspiration to the way we write,” the band says. “Not necessarily in terms of the sonic architecture of a song, but how it can clear up your mind to allow the creative process more freedom.”

Released last November as the EP’s first offering, “Need It” fuses Strokes-y vocals with shimmering guitars, while “In Ya Nature” introduces breezy echo effects and a backbeat reminiscent of early 2010’s indie rock giants. Simple, refreshing, and earnest, the EP exists as an ode to beloved genres of the past, and a crowd-pleasing introduction to the band’s newest and most authentic chapter.

In our recent interview with the band, Bones and Jones dive into the creation of In Blue, from the equipment that helped piece it together, to the lyrics that encapsulate its overarching message.

Before we get into your new material and upcoming projects, we’d love to know where the name Bones and Jones originated. Who came up with it, and is there any major meaning/significance?

Bones and Jones: “Hi, Emma! We had a couple of names that didn’t really stick when we were first starting. We were all trying to think of something cool when our drummer Conor found a CD at his folks’ house. The CD was titled Bones and Jones, and it was a compilation of songs written by Brian Jones from The Rolling Stones. No real meaning behind it other than we love the Stones!”

You’re currently based out of an old apple orchard on the Victorian surf coast. That has got to be the coolest band “home base” I’ve heard of — how does that landscape influence your sound, if at all?

Bones and Jones: “It is a pretty special place. We’re very lucky to live here and have a studio on the same property. The amount of physical space and tranquility that you experience here is a big inspiration to the way we write. Not necessarily in terms of the sonic architecture of a song, but how it can clear up your mind to allow the creative process more freedom.”

Congratulations on the release of your brand new EP, In Blue! When in the writing or recording process did this title come about? Were there any other titles in the running?

Bones and Jones: “Thank you! I can’t give away too much, but the title is linked with a series of EP’s we will be releasing over the next year. We’ve been pretty set on the idea of this project for a while so there hasn’t really been any other names for it!”

Talk to us about the first track, “Need It,” and the influences that shaped it. What were some records or genres you were all listening to in the creation of this EP?

Bones and Jones: “‘Need It’ was a real throw it against the wall approach to see what sticks.

It sat as an instrumental for a couple of weeks, and then I just chucked a melody and some words on it and it all sat pretty well. There have been some parallels drawn to a Strokes sort of sound, which I think comes from the vocal crunch, but that was really something that came out in the mixing rather than being a sonic intention before recording.

For the EP, we didn’t plan out any definite way. We just wanted to shift the sound of the band. Everything was super organic, and we just treated each song as their own and worried about any sort of coherent sound later. It's definitely a bit disjointed in that way.

We just wrapped tracking all the next stuff, and it follows that same formula, really. I think for the EP we had a greater focus on just balancing guitar tones and textures. A kind of less is more approach. The studio is in our backyard so it gives us way less time constraints to play around.”

What equipment ended up at the forefront of this project? Any pedals, guitars, or software you played with to achieve the varying guitar tones?

Bones and Jones: “We’ve become a lot more interested in and focused on the soundscapes of our songs and obsessing over all the little things that fill in the space (or create space) in the back of a mix. Through that we’ve introduced more synthesizers and have definitely been playing around a lot with different effects and just experimenting with anything we can get our hands on. A pedal we’ve been loving at the moment for lead tones is the Electro Harmonix Ripped Speaker.”

What lyric do you feel best encapsulates the EP and the message you hope to convey to listeners?

Bones and Jones: “Hmm, great question! My personal favorite lyric is from the track ‘Need It.’ Jasper sings ‘Do you wanna be anybody, does anybody know your name?’ The way I interpret the lyric may be different to how it’s intended when he wrote it, but I guess that’s the beauty of art. I think it evokes a lot of thoughts and sparks interest into pondering the question of your own existence. From my experience, it can be healthy to ask yourself these questions to try and make sense of your life and the natural world around it. It helped me to appreciate the smallest of things and how lucky we are to be alive.”

You’re heading out on an Australian tour with The Grogans in late March. What’s the most rewarding aspect of taking your catalog out on the road?

Bones and Jones: “Very excited to be touring with The Grogans again! They’re very close friends of ours and we love them lots. A lot of our music that we’ve released is quite upbeat and fun to dance to, so it always makes us happy to see people dancing. With a few slower, newer songs we’ve released (and a few unreleased ones), it’s going to be exciting to see people hopefully connecting to them in a more thoughtful and meaningful way. Anytime I see someone smiling and having a good time though, is what really makes it rewarding and worthwhile!”

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CRY BABY: INTERVIEW

February 14, 2024

by emma schoors

New York-based Cry Baby wants to be your guilt-free favorite boy band. “A common sentiment we all share is being unashamed of what we’re into, regardless of its relevance today,” vocalist Alex Carlson says. “I think it's fun to be polarizing in that sense.”

Saccharine yet moody like FOUR era One Direction, with a glitchy, surreal backdrop like Beabadoobee, the five-piece have been slinging genre-defying material since their South Carolina conception. This isn’t the first iteration of the band, with Carlson joining last year after their previous singer left — a call-to-action via social media from bassist Joey Haines was what helped assemble the current lineup.

“Joey’s IG post looking for a singer was just a hail mary attempt to keep this dream they all had going. I’m not sure any of them had much confidence that would amount to anything,” Carlson says. Still, he took a leap of faith and met up with Haines: “I can only liken that experience to a first date where you’re hoping the other person is having as good a time as you are.” He was, the pieces clicked, and Cry Baby was reborn.

“Hollister” was the demo that brought the new lineup together. With a similar electropop synergy to The 1975’s “It’s Not Living (If It’s Not With You)” and a driving, minimalistic drum track, the song calls on Carlson’s hypnotic vocals and the existing sonic kinship between founding members. Their newest single, “One Thing,” similarly propels the band forward in all its careworn beauty. The track follows the demise of a relationship, and the unease that precedes it. “We got to dial in these really fun, glitchy, distorted electric riffs, and in the second verse there’s a country-esque lead line I got to play which is so fun to do live,” guitarist Carter Long says. “[It] brings the inevitable South Carolina influence into our sound, however subtly.”

Cry Baby’s genius lies not just in their spearheading of unabashed bedroom pop, but in their use of social media to further the reach of each single. “We don’t want to change the system. We want in,” Carlson joked in a recent Instagram video. As laden with sarcasm as it is, it speaks to their willingness to seek exposure in an era where care is mistaken for desperation. By expending energy on the things that matter — fan interaction, creation, and heart-on-sleeve lyricism — they’ve laid a foundation that’s sure to steady them in the New York alternative scene for years to come.

We had the pleasure of sitting down with Cry Baby to discuss “One Thing,” the specifics of their DIY bedroom studio setup, and the story behind their “wistful, nostalgic sound that is really bright on the surface, but is informed by a lot of sadness and struggle,” as Carlson eloquently puts it.

Thank you for taking the time to speak with us! Before we get into your latest release and forthcoming plans, we’d love to get a feel for how the band got together. How did you all initially meet, and have you always been based in Brooklyn?

Alex: “Yeah thank you for having us, we love Unclear. Joey and I had some mutual friends and I knew him outside the music world for about a year, existing more in the periphery of each other's lives I guess. I knew he produced music and that had always interested me a bit, so when he put up an IG story about looking for a singer, I jumped at the opportunity. Everyone outside myself moved to the city from Charleston, SC where they were in a previous iteration of the band, but soon after moving here their time as a band together was thrown into question because their singer left.

Joey’s IG post looking for a singer was just a hail mary attempt to keep this dream they all had going, I’m not sure any of them had much confidence that would amount to anything. But as fate would have it, I reached out and met up with Joey to talk music, and at every turn it felt we had all these niche interests in common. Some artist names we were throwing around were James Ivy, Third Eye Blind, and joan. It became pretty obvious we had a lot of reference points in common, some of which were pretty specific, so I think that helped Joey feel comfortable enough to show me some instrumental demos he was working on. The first one he threw on was what ended up becoming our first single, ‘Hollister,’ which was love at first listen for me. I can only liken that experience to a first date where you’re hoping the other person is having as good a time as you are. Turns out they were.”

Cry Baby is very much a DIY band, as the music is written and recorded out of a bedroom studio. Give us a rundown of your setup. What equipment, amps, pedals, and software do you typically use? Nerdiest answer possible, please.

Joey: “Yes, we’ve always been a bedroom operation. People literally sitting on the bed with guitars. But, I’ve always used just a handful of really quality pieces of equipment. Instead of owning a bunch of stuff that you half use, better to have just a few things that are perfect. I work in Logic with a Universal Audio Apollo, a Taylor Grand Auditorium acoustic (the best acoustic I’ve ever played that my mom got for me so I could play in our church band growing up) and Fender American Telecaster/Jazz bass. Our mic is a super nice Telefunken, plug-ins do all the rest! I honestly love working on the computer because you can record something so ‘normal’ and completely transform it by sifting through plug-in presets. I’m always chopping up and layer breakbeats also to give a hybrid acoustic/digital drum feel. Some of my fav plug-ins on the debut EP have been Izotope Stutter Edit 2, Guitar Rig 6, Soundtoys Decapitator and CLA plug-ins.”

Do all of you listen to the same genres of music, or are there varying tastes within the group?

Carter: “There are pretty huge variations in taste which make us the band that we are. I think most of us are quite open minded musically and listen to a lot of different stuff, but we’re definitely drawn to different things.”

Alex: “I think vibes are important to distinguish what we’re each drawn to musically. Speaking for the others here, but I think Carter, Matt, and I are drawn to sadder emotional music, while Josh and Joey lean on the more upbeat end of the spectrum. That's a big generalization of course, but a common sentiment we all share is being unashamed of what we’re into regardless of its relevance today. Honestly for myself, I’m proud of my guilty pleasure tastes like Bieber. I find the unabashed pop thing to be refreshing. I’d like to be on the borderline of a guilty pleasure band for people, I think it's fun to be polarizing in that sense.”

If your band were described as the lovechild of two existing bands, which would they be and why?

Alex: “Ah, tough one to answer. I’d say a one night stand between Third Eye Blind and Beabadoobee. I guess we have some elements that remind people of that pop rock era that Third Eye Blind dominated, sort of a wistful nostalgic sound that is really bright on the surface but is informed by a lot of sadness and struggle. Beabadoobee feels like a band that embodies that today, really glitzy and cute on the outside but a lot of emotional depth in the art. That’s certainly something we’re striving for and I suppose everyone should look up to their parents.”

Talk to us about your brand new single, “One Thing.” Joey described it as one of his favorite Cry Baby songs to date — what are some sonic elements you got to incorporate this time around that you hadn’t in previous singles?

Carter: “‘One Thing’ has a little more of a rock edge than the first two singles. We got to dial in these really fun, glitchy, distorted electric riffs, and in the second verse there’s a country-esque lead line I got to play which is so fun to do live and brings the inevitable South Carolina influence into our sound, however subtly.”

The accompanying video by Fiona Kane doubles down on the restless, uncertain feeling that permeates the track. Was there a set vision going into it, or was it more of a spontaneous filming process?

Alex: “I’m happy to hear that comes across in the video. It was all very spontaneous. We just knew we loved Fiona’s previous work and trusted her vision. We had some small ideas at the beginning, but Fiona threw out the possibility of having access to a convertible to shoot in while driving around the city which piqued our interest. Long story short, Fiona had connected with this legendary guy, George L Senior Jr., who has a huge convertible collection via TikTok. He was kind enough to drive us around the city for an afternoon while Fiona filmed Bea Enrico and myself being so over each other, Bea is a friend and she immediately came to mind as someone I wanted to shoot with, because she plays apathetic so well.

The other elements like the moving sculptures were courtesy of kinetic artist Walter Rossi, Fiona’s incorporation of his pieces are what made the video special to me. It reminds me of the cover of the I Spy books. I love it. Fiona is amazing at what she does.”

You’re becoming a staple in the New York alternative rock scene. Who are some local acts you’d recommend to our readers?

Alex: “So many to include, but I’ll keep it to a few that have been big reference points for us. The Life, DBA James, Middle Part, and James Ivy. It’s an exciting budding scene to be a part of, I feel like bands are back in a big way in NYC.”

What are some band milestones you’re hoping to reach this coming year? Are there any plans for an EP or album in the foreseeable future?

Joey: “I think this year we wanted to put out a lot more music, starting with our debut EP. We are of course into turning out singles like we’ve been doing, it’s going to feel really good to have the whole collection out. These were the first songs we wrote as a group so they are very special to us. We also are super into the idea of collaborating with other artists we love, something we haven’t gotten to do a lot in the past so we are definitely trying to make some cool things happen in 2024. Lastly, we want to tour and reach as many cities as we can. Support touring is always one of the things at the top of our list, our inbox is always open Matty Healy.”

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NATL PARK SRVC: INTERVIEW

February 13, 2024

by mariah estran

The seven-piece indie collective NATL PARK SRVC emphasizes emotional growth through a sweeping concoction of sound on MAGICIAN. Previously released in October, the two-part LP moves through heartbreak and its aftermath.

Focusing on their production structure, they found the beauty in letting things flow while learning to understand who they are personally and as artists.

The group worked through demos, modifying them to keep that initial idea in mind. The result is an array of emotional high points that carry you from beginning to end.

NATL PARK SRVC took the time to go in-depth about MAGICIAN. The ensemble shares more on their creative vision, producing, and how the album helped them unpack their own experiences at the time.

I understand that the album is supposed to be two different sections. One being heartache, the other being what comes after. Was setting up the album this way always the intention, or did it happen overtime?

NATL PARK SRVC: “I think it was a little bit of both. We knew we wanted to do a double LP. We think a lot about the track listing and album structure. We're always keeping that in mind when we're making a record, but in terms of the content of the songs — I think it came pretty organically. We had the structure of it, but the emotional points weren’t there until it happened.”

How do you feel the album setup heightens those emotions?

NATL PARK SRVC: “I think when you have a long record, it's got to warrant its length to a certain extent.

I think an interesting point is how the second-half of the record goes from ‘Like All Good Magicians’ to ‘Up On Marlene's Hill.’ This set up of the record lends that self to being an emotional high point.

There’s pretty obvious peaks and emotional high points. If you’re going to tell a narrative — there’s a beginning, a middle, and an end. But I think with this record, it’s this big emotional, sweeping thing, but it doesn't come to a conclusion. In the end, it sort of just leaves you with it.

That is sort of cathartic in itself.”

You all mention how it is a cathartic release. The album looks inwards at things that happen throughout life. What introspective lessons became unveiled while piecing together this album?

NATL PARK SRVC: “The album uses broken relationships with people as a catalyst for this journey to understand yourself a little bit deeper. And recognize where you can be within the process.

To answer the question, it's a journey of learning — what it takes to be a part of a community and learning how to understand yourself so you can relate to other people.”

This album follows your debut, and there’s a progression in sound. How did this project help you hone in?

NATL PARK SRVC: “We found our footing in writing and producing on this one. On our last album, we recorded with a group here in the studio, which was a lot of fun, but we realized that we work the best in our own element.

A good chunk of this record, all of the auxiliary instruments, all of the vocals, all of that was recorded in our dining room, which was a lot of fun. But it sounds a lot more natural and a lot more fluid.

Definitely the closest to NATL PARK SRV sound that I think we've ever gotten to.”

All of you were putting your hand in this together. It wasn't a one man show, y'all are basically a collective. What is it like collaborating with one another?

NATL PARK SRVC: “We found a cool way of writing these tracks, doing multiple iterations of demos. So we'll get a certain number of people on a track, then all of a sudden the drums don't fit as well as they could, or this part could be emphasized more; this needs to be rewritten and we're able to. Like growing the song in that way, in a way that we have not been able to do in situations where you're just jamming.

You don't wanna lose the magic that comes with the initial idea. When we have these moments together, you’ll hear it on the record — there's lots of those moments.”

Lastly, how do you feel this album has documented your growth so far?

NATL PARK SRVC: “All you really got to do is listen through the discography, right? You’ll see.

I think a lot of it comes down to stepping back a little. Earlier, with the songs, we were putting stuff on because we like the way it sounded. With this record, when we were working on stuff, we wanted to step back and go, ‘OK? Does this need to be here? Like, what is essential for this groove?’ We made sure that everything served the song.

I think the songs, the lyrics, have improved a ton. It it sounds like we know who we are now.”

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MAYA J: INTERVIEW

February 6, 2024

by martina rexrode

Maya J, an all around talent with a background as a trained violinist, just released “Chills,” her first single since 2021. The single brings a fresh yet familiar twist to her signature sound, bringing the listener in with its jazz elements layered under her smooth vocal delivery. As the executive producer of Glitter Rain Entertainment, her RIAA-member record label, Maya J is excited to get back into the swing of releasing music for her fans to hear. We talked with Maya J about this single, how she’s changed in the time since her last release, and all of her creative endeavors.

First of all, congratulations on your new single! How does it feel to start off the new year with the release of “Chills”?

Maya: “Thank you! Ahh, it feels amazing. ‘Chills’ has a vibe that just represents where I am now musically, vocally, and spiritually. I’m happy to share it with the universe!”

In which ways might “Chills” separate itself as a single from your previous releases?

Maya: “It’s interesting that people think this song is different and I see what you mean. I went from ‘Symptoms’ to ‘Come Find Me,’ to ‘Unconditional’ love, to getting in ‘Trouble’ for you, then finally being able to say that I have ‘Chills’ down my spine. I believe that the reason it feels different mostly has to do with the musical arrangement. I’ve always had emotionally mature themes within my songs, but I know ‘Chills’ feels a little bluesier and jazzier than my previous records. It feels fresh in that way. ‘Chills’ was just the right song for this sound. ‘Chills’ is still a Maya J classic in that it’s a pretty melody, it’s soft, it has a vibe, and it’s R&B-pop with that indie flavor and minor chord structure & tone. ‘Chills’ in some ways pushes the Maya bar a little bit further on the lyrically-sensual-thematic material spectrum, thus making it a tad spicier than previous releases of mine.”

This is your first release since 2021! What made you choose this single to be the one you came back with nearly three years later?

Maya: “Time is flying. Yes! I’m happy to finally have new music out and coming in 2024. I’m not sure how this became the first single back, something just said it was right. Something just told me that it was supposed to be ‘Chills.’ Right now, I even know what my next recording is going to be. These things kinda just come to me, maybe it’s because I’m a Pisces. We’re psychic, haha!”

How have you evolved, personally and creatively, since 2021?

Maya: “Well, so much has happened since 2021. Glitter Rain Entertainment operations are hard work, but I always strive to display my work ethic and make sure I do everything in the best way possible, so I can’t allow myself to stay frustrated since I #ChoseThatLife. In 2022, after handling multiple releases from 2021, and even writing music for a show that a network pulled the plug on, I took a break to focus on my own life experiences, my songwriting, the organization of my artistic projects, and my acting career. I spent time at an improv comedy theater I love, and that breathed new life into me and reminded me why I even entered the entertainment business. I’m so thankful for that time. My sister moved back closer to me and my mom, and I am cherishing that as well. It wasn’t until 2023 that I decided to get back in the studio. While the actor’s strike was happening (in 2023), I spent a lot of time being a voice in support of us (as most actors were doing) and focusing on my music, which included producer hunting and then finally signing new deals in the summer (of ’23). That all led to January of 2024 starting with a fresh new music release, with more to come in the months ahead. I can’t believe it has been over two years, that’s really how fast time flies. I believe that we as humans are evolving everyday, and so with almost three years since a release, I definitely know I’ve evolved. I’m growing everyday, and I’m proud to represent that growth within my music and outside of my music.”

How does your background as a violinist bleed into your life as a songwriter, producer, and artist?

Maya: “I’m glad you asked this, because I am always so thankful to have a background as a trained musician, especially now that I work on creating music all of the time. My musical knowledge really helps me communicate my thoughts during production effectively, and it helps me understand instrumentation during the record making process that I don’t think I’d understand if I hadn’t been a violinist all my life.”

What was it like to expand into directing with the music video for your 2019 release “Like You?” Can we expect a music video for this single?

Maya: “Creatively taking the reins is something that I do for everything I’ve done since the beginning from the ‘Symptoms of You’ era. With ‘Like You,’ I even re-shot some of the video because it was not meeting all of my expectations during the first round. I will go full throttle to infinity, and I think that’s a testament to strength that I didn’t know I had before I owned a label and started making records. As far as a ‘Chills’ music video, we’ll definitely have digital photo books, a visualizer, and lyric video content. But my next full throttle music video might not be for ‘Chills.’ I think fans will be pleasantly surprised at what I have in mind.”

What do you think fans might gravitate towards within this single? What do you hope they get out of it?

Maya: “I hope that fans will gravitate towards the melody, my songwriting, and my voice; I hope this single gets people in a fuzzy mood and helps contribute to keeping love alive. I want everyone to have happy ‘Chills.’”

Is there anything else you’d like to share with us about “Chills” or about what fans might look for from you this year?

Maya: “Stream ‘Chills,’ add it to your playlists and enjoy it. Subscribe to my website thisismayajenkins.com for exclusive news and content! Another single is coming out in a few weeks, and I’m so excited to share it. I have one hint… 👑. Also, go ahead and give my brand new TikTok account a follow, it’s @mjjsquared. I literally did it guys, this is monumental. I finally have a TikTok. But of course for all other music/tv/film updates my IG is @mayajenkinsforever. So excited for all that’s going on right now. Most importantly… STAY SPARKLY! xo — Maya J”

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'KILLIN' IT' / P1HARMONY: REVIEW

February 5, 2024

by martina rexrode

With six mini albums under their belt three years out from their 2020 debut, P1Harmony is starting the year off by releasing their first full-length album, 때깔 (Killin’ It). Including the title track of the same name, the album features 10 songs, each of which were co-written by Jongseob, one of their rappers and the youngest of the group. Their album comes at a time when a wider range of K-pop boy and girl groups are becoming household names thanks to their appearances at U.S. music festivals, award shows, and tour stops — a strategic time to release their longest project yet and show a new side of themselves to P1ece, their dedicated group of fans.

Driven by elements of synth-pop and 90s hip-hop, “때깔 (Killin’ It)” is a solid title track filled with what’s become a signature sound for the group. As soon as you hit play, you’re met with a beat that gets your hands clapping and your head nodding which fades into quick-witted rap verses by Intak and Jiung. The confident rap delivery by Intak, Jiung, and Jongseob completely sells you on everything they’re saying. Each member teeters on the line of sounding cocky with how sharply their vocal tones enunciate every word. This is especially true in Jongseob's rap verse after the first chorus where he states in a stuttering rhythm: "My rule came 2005," implying that he's been ahead of the game since he was born. With all of the energy oozing from this track, it feels inevitable that the choreography is going to be exhausting.

Although the title track was enjoyable and a great addition to their wider discography, the b-sides were where the group shined. Sticking close to the sound that their fans know and love, P1Harmony were also able to tap into different genres as the album progressed, expanding their creative landscape in an impressive way. Some standouts were "꿍꿍이 (Love Story)," a laid back departure from their typically fast-paced tracks layered with soft rap verses and smooth falsetto, "Countdown to Love'' with its structure reminiscent of a 2010s pop song or something off of Maroon 5's Overexposed, and "Emergency," which drops you into the song's world immediately with a beat emphasized by sirens and the unique vocal delivery by each repetition of the hook "it's an emergency." Other tracks like "Late Night Calls” and "2Nite" lean into a more chill, R&B style that works to highlight Theo and Keeho's soulful vocals as well as a more minimalistic side to the rappers' execution of their verses. "Everybody Clap" urges you to lean in with a pre-chorus that builds up to a sort of anti-drop, holding your attention until the real chorus finally kicks in. Their rappers are purposefully highlighted in "Let Me Love You" and "Street Star," tracks that hit on the hip-hop elements common in their previous b-sides. Each of these feel very much in line with what someone might expect from P1Harmony with a subtle upgrade.

The album's final track, "I See U," is another standout. Co-written by Jongseob, Keeho, Intak, and Jiung with collaborators, it serves as a sign of appreciation to P1ece for their commitment to the group throughout the years. It's easy to listen to without being forgettable and feels like a similar style to their collaboration track "Gotta Get Back" with Pink Sweat$, the catchy chorus sure to be stuck in your head after a single listen. Fan songs are common among K-pop groups as a way to further connect themselves to the people who buy their albums and stand for hours at their shows, and "I See U" seems like a fresh, bright addition to that subgenre.

As a whole, 때깔 (Killin’ It) is an impressive showcase of how P1Harmony has evolved in just over three years. The album homes in on a specific style and direction that sets the group apart from others in their generation of K-pop. It's energetic, youthful, and hip while calling back to 2010s Western pop music and 3rd generation K-pop music by groups like GOT7 or IKON. It feels different from past releases in a way that also stays true to the sound they've carefully curated to be easily recognizable as a P1Harmony song — powerful, cocky rap verses paired with smooth vocals, chanting choruses, and throwback instrumentals. For some groups, a full-length project like this might come out much sooner than three years after their debut. However, in the case of P1Harmony it appears that the wait successfully allowed them and their team to put together a final product that is sure to advance the group beyond the steady pace they've already built up in the last year.