CHRISTINA WARD: INTERVIEW


by martina rexrode

photo by sydney tate

With an incredibly personal pool of material to dip her lyrics into and a self-described sound that invites a dissociative feeling, Philadelphia-based singer-songwriter Christina Ward is set to release her latest single “Darkstar.” This single is off of her forthcoming EP Neon, and we were lucky enough to talk to her before this exciting release.

At the time of this interview, your next single is out in just over a month! How are you feeling as the release date gets closer?

Christina: “I'm excited to get it out into the universe!”

What does this single mean to you? Where did you pull inspiration from?

Christina: “Writing is an outlet for me, so it wasn’t difficult to go there, but it is difficult to share the experiences. I feel like I have to, in a way, find some meaning in it. Life is so random.”

You also have an EP out later this summer titled Neon. How does “Darkstar” set listeners up for what they’ll hear on the EP?

Christina: “It’s a demo version of what we do live. I think it fits in well with the rest of the EP, but this track was recorded in a bedroom mostly. I sent it out for bass and drum tracks. It might be the ‘darkest song on the EP [laughs].”

What led you to bring the band in for the first time on these new songs?

Christina: “We had been playing these songs out for a while before recording them, so all the parts were written. Usually, I write parts as I record them. It made the process of recording much easier, I think, having everything thought out and ready to go.”

Can you tease a little bit about one of your favorite tracks off the EP?

Christina: “I think ‘Darkstar’ might be my favorite, or possibly ‘Alive.’ I'm not sure what my favorite would be from the entire catalog — I write and record songs and rarely go back and listen to them after they’ve been released. It’s like looking back at journal entries from a year ago or something. Can be too painful, and maybe the songwriting process, for me, is a way to move forward from certain things.”

Have you gotten involved in the Philadelphia music scene at all? If so, what aspects have you taken away from that community of local musicians?

Christina: “I’m such a nomad — couch surfing, staying in a few spots at once — I hate to say I’m from anywhere or part of any scene. I’m mostly based in the burbs, but I do play a lot in the city as well. I’m so fortunate to know so many amazing musicians and bands from in and outside of Philadelphia; it’s a tight-knit community and it’s inspiring.”

Which artists inspired you when you were younger? Can you find any pieces of their artistry within your own music?

Christina: “Led Zeppelin was a huge influence. Jane’s Addiction, Living Colour, Pixies — too many to list here. I’ve always loved music, particularly the guitar. I didn’t come from a musical household, so a lot of stuff I discovered on my own or from friends. I think some of it comes out in my songwriting. You might be able to pick out pieces.”

How would you describe your sound to someone who’s never listened to your music before?

Christina: “Sad shoegaze-y indie/prog/rock that you can disassociate to. <3”

 

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ANNA AYA: INTERVIEW


by martina rexrode

photo courtesy of anna aya

With dozens of global artists and groups breaking into the Western music scene as well as the charts, it seems fitting to usher in an artist who has the potential to become the next big thing. Anna Aya is a multilingual singer, model, and actor who just dropped her second bilingual single “Hit Me With Your Love,” an electric pop song with a fusion of English and Japanese lyrics. Based on the success of her debut single “Someone Else,” it looks as though Aya is gearing up to be a breakout star for Japanese Pop (J-pop).

Congratulations on your latest single “Hit Me With Your Love!” How does it feel to have this in the hands of fans?

Anna: “Thank you! I feel so excited ‘Hit Me With Your Love’ is finally out and I hope everyone is singing along and dancing already.”

This is your second bilingual single after the success you had with your debut “Someone Else.” Does this release feel different from the last in any way?

Anna: “Yes! ‘Hit Me With Your Love’ is more upbeat compared to ‘Someone Else’ and definitely more of a classic pop song that you can dance to. It’s really fun to have a song everyone can sing along to easily.”

Which themes does this single tap into?

Anna: “‘Hit Me With Your Love’ is a sassy diva song, with a little bit of an attitude. I think it’s a fun pop song with some Japanese lyrics I wrote to make it a unique J-pop anthem.”

I noticed some early 2000s energy when listening, but I liked how fresh it sounded in the bilingual mix with lyrics in both English and Japanese. What led you to lean into this specific sound? Are there any artists that inspired your musical style?

Anna: “I definitely try to channel some early 2000s vibes with my music, because I love the aesthetic and music scene of that era. Ariana Grande has always been my biggest inspiration, as well as Britney Spears. I try to make my music my own with the bilingual aspect, being half Japanese myself, while incorporating the influences from these icons.”

Have you noticed any hints of your background in dance sneaking into your music, especially in performances? Are there any plans to incorporate these dance styles into future aspects of your career?

Anna: “I definitely feel like my background in dance has helped me grasp how to express myself vocally, which leads to the combination of dancing and singing for my performances being really exciting for me. I will always want to dance for my live performances, and imagine having so much fun with many dancers for my tour one day.”

What was it like to record the performance for the Grammys Recording Academy with Global Spin?

Anna: “It was an honor to perform for the Grammys Global Spin, especially having my video produced by Shannon McIntosh, who produced Once Upon a Time in Hollywood. I had an amazing time performing wearing an all pink outfit!”

From your perspective, what does the future of J-pop look like?

Anna: “J-pop will be the next big thing globally in my opinion. I hope to contribute to this and make the world love J-pop, and the beautiful Japanese culture.”

What is next for you? Is there anything else you want to let our readers and your fans know or anything you can tease?

Anna: “I am actually performing live for the first time ever on July 2nd, at Dodgers Stadium for Japanese Heritage Night, and I can’t wait. I’m always working on new music and might tease an unreleased song during my performance!”

 

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'MIRROR, MIRROR' / THE SCARLET OPERA: REVIEW


by joann snavely

Fans have anxiously been waiting for the up-and-coming LA-based band The Scarlet Opera’s forthcoming sophomore EP since the release of their lead singles “Someone’s Gotta Love ‘Em” and “Catch Me If You Can.” Composed of frontman Luka Bazulka, whose vocals snugly fit into the musical talents of band members Colin Kenrick (keyboard), Daniel Zuker (bass), Justin Siegal (drums), and Chance Taylor (guitar), the longtime friends are here to stay. Trailblazing in a genre of its own, The Scarlet Opera is gearing up to overhaul the music industry itself. Coming hot off the heels of their debut EP Comedy, which was released just last year featuring hits like “Alive” and “Riot,” The Scarlet Opera is here to change the way we listen to music, and their latest Mirror, Mirror EP does just that.

The album opens with the lead single “Catch Me If You Can” which instantly sends listeners into what feels like a coming-of-age film. It’s upbeat, catchy, and rampant with an essential blend of flawless production, and jaw-dropping synth to create a song that leads listeners excited for more. The opening track sets fans up for the album reminiscent of 80s pop with its own dramatic, and beautifully executed flair.

The track “Slutty” switches gears with a slightly less pop sound and instead infuses enticing guitar and vocals that are gritty, sultry, and somehow almost operatic at the same time. It’s unlike anything being produced in modern music as the band continues to emphasize what current music should be — unique, showstopping, and in a world of its own.

The rest of the album continues to exceed any pre-determined expectations fans may have had as it continues in its theatrical style of musicality. Each track composes its own unique sound that’s entirely different from the previous whilst still composing one cohesive record.

It tells a beautiful story of love, life, and everything in between while just being a fun record perfectly constructed for the summer.

The band spoke on the new release;

“For better or for worse, this music ended up being a reflection of our trials and tribulations being a band the past few years — the complexities of falling sucker to industry hype men paralleled eerily well to the simultaneous love affairs happening behind the scenes. Mirror, Mirror will always be a poignant reminder for us to keep our circle tight, the romance in the ride and our joy protected, at all costs. More music, sooner.”

The five-piece band isn’t new to musical acclaim, having been nominated for the 2024 GLAAD Media Awards and headlining a tour across the country this past spring, it seems that they’re just getting started, and there’s no stopping the musical empire The Scarlet Opera is building.

Check out their latest EP Mirror, Mirror here.

 

LITTLE STRANGER: INTERVIEW


by janae stewart

Alt indie hip hop duo, Little Stranger, comprised of Kevin and John Shields, hit the IHG Hotels Stage on Saturday afternoon to play their first Gov Ball set. After their set they took some time to sit down with me and answer some questions.   

Can you tell me a little bit about yourselves and the band? I know you guys are from Philly and are in South Carolina right now. Tell me a little bit about how you guys got your start.

Little Stranger: “Yeah, Kevin and I met in high school outside of Philly and we sat next to each other freshman year in biology class because it was sat alphabetically, we had the same last name.”

Right, brothers from a different mother.

Little Stranger: “Yeah, we’re not related. So that's how we met and we were friends all through high school but didn't really work together much.

John and I both had high school bands and John's band would always beat us at the battle of the bands.”

Gotcha.

Little Stranger: “Right, as if anyone's surprised. So yeah, fast forward, post-college, I had moved home to Philly and me and Kev would often get up and perform with each other in Philadelphia, each of our band's live shows. And we just felt like we worked really well together so we wanted to make a side project. It was more of my singer-songwriter thing and Kevin rapping. And so we started Little Stranger as a side project and pretty quickly in working with each other realized how much we enjoyed it and how well we worked together.”

Yeah, absolutely.

Little Stranger: “And that sort of stemmed in 2015 to be becoming a real thing where I had planned to move back to Charleston, South Carolina. So I was playing as a gigging musician there and making money playing in wedding bands and playing acoustic gigs at bars and stuff. I knew I could make some money. But I wanted to tour with an original project, so kind of like offered that up to Kevin and Kevin being the man committed to it and that was the start of the whole thing.”

That's amazing. Obviously your history, I feel like it really showed on stage. You guys had such a connection. It seemed very fun. I saw that you guys did like a hundred plus shows or something within a year time frame. How do you keep it fun? How do you keep on just enjoying it?

Little Stranger: “Oh, there's days where it feels like a grind, but the good thing is, like you said, we would play these shows that were four hours long or things like that. But it all helped to sharpen the blade where John is the maestro up there. He's the composer. He's creating the songs on the spot and kind of choosing what comes next. So a lot of times he will throw curve balls my way of things I'm not expecting or things that I'm not prepared possibly to do. But you find yourself making sure that you're always ready for anything and that's what makes it fun because it's like we can write a set now and when it goes off the rails that's almost more fun for us. But it is a trust. It's a trust. We have such a respect for each other's musical abilities and to be able to handle any scenario that it makes it fun and easy. Like there's not like a, uh-oh, I'm changing it up, you're not going to be able to handle it. It's like we're both ready at all times.

Yeah, I think it's a two-fold thing of not only trusting each other's ability to perform live and keep things off the cuff, but that also goes. That's a product of our friendship and how we relate to each other on a day-to-day basis because everything we do is basically trying to like take a joke to the furthest place it can possibly go. And all that is is like being off the cuff as well. Yeah, and truly, like Kev said, we did four years of just doing 100 plus shows a year that were long bar gigs to nobody and that helped us get good at working together.”

Right, of course. That's cool. So your music has a lot of reggae and hip-hop influence. How did that sound kind of come together? Was that stuff you guys were doing already in high school or...?

Little Stranger: “A bit. The band that I was in prior to this was a little more reggae, kind of like reggae jam band. So I always kind of was influenced by that as a songwriter listening to Slightly Stoopid and Jack Johnson and G. Love. That was a big influence for me. And then when I linked up with Kevin, really we had this mutual love for Gorillaz that was kind of felt like this middle ground of melodic hip-hop production with melodic choruses that meet verse, like rap verses. And Kevin and I, not only like performance-wise but just influence-wise and what we both brought into the music, that seemed to be why we ended up doing the music that we're doing.

Yeah, to find a way to make a hip-hop track that has not only a catchy chorus but a well-written chorus, well-written verse that then when the rap hip-hop verse comes in it feels like a moment itself almost. Like I literally have the Danger Doom tattoo because that album is like the most beautifully crafted poppy choruses meets MF Doom verses, like these weirdo verses and stuff.

So it was nice to find someone that we wanted to explore that. And once we started doing it, it felt easy. It didn't feel like we were trying to do a thing. It was like, oh shit, this is what we were supposed to be doing.”

Yeah, totally. Tell me a little bit about the writing process for Sat Around Trippin. Is that the name of your new album?

Little Stranger: “Yes, that's the name of the new album. So it kind of started, what we did to really kick it off was last January ‘23. We had been touring so much that year, and then when we're not touring we live in Charleston, South Carolina. It's an amazing place, it's also small and we know everyone. We have so many friends there and they're all musically inclined and they're creatives. And that is an amazing thing. Sometimes it felt like we would get home from tour and you don't really get a break or we can separate ourselves. So last January we went up and rented a cabin on top of a mountain in Asheville, North Carolina just to get away from everything and try to just write and create. And that sort of sparked a few of these songs that got this album going. I think the biggest part of it was just to get away. We made more songs up there that aren't on the album than that are. But it was just getting the juices flowing and making and making and making. And then you get one that you're like, oh this is good. But you don't get that one that comes out that's good unless you make like nine before it that are okay. So that was cool, that kind of sparked the whole thing. And then after that it was back on tour. So the last year and a half has been, alright we're home for a week. Can we get a fucking song done? We're back for another week. It's interesting trying to write an album when you're touring as hard as we do to try to get it all done.”

That makes sense. Do you guys have a plan at some point for some of those other songs that might not have made the album?

Little Stranger: “We do! Uh oh! Exclusive! What we really want to do is we're sitting on like probably 14 songs that are either complete or 75% there. They're raw, they're not mixed and mastered.

But we love them. And for this project it just didn't quite feel like they maybe meshed with the other songs. So we would really like to put out like a B-side release. Maybe like six months after the release and really target that towards like our core families. Because they want new music whenever they can get it. And so we feel really good about this other mix of songs.

And again, I feel like we both come from this place of like some of our favorite bands, their B-side albums are our favorite material. The stuff that like, you know, I don't know. There's never been a through line for an album. There's never been a theme we have to stick to for an album. We don't like to put any of that pressure on ourselves. So like to find these ones that are extremely, you know, all over the map. It feels really good to put that kind of stuff out. And on a B-side it's like that doesn't matter. They can be all over the map.”

It's like no pressure.

Little Stranger: “It's just like this is everything else. But we're listening back on it. I'm like this might be better than the album.”

That's really cool. So you guys put out like “Sofia,” “God at a Festival,” and “Kama Sumatra.” I guess you kind of already are saying that your direction is all over the place. So are these kind of the best representation of what the album's going to be like or just your favorite songs? Why are they your singles?

Little Stranger: “I think at least these were some of our gut favorite songs off of the rip. But even in these songs, like we definitely are almost kind of challenging our fans in a lot of ways that we probably haven't before. These are songs that are maybe different styles or recorded or stripped down in a way that we haven't done before. So I love that we're choosing songs that are representative of the things we can do, but kind of trying to show them the corners of it. And then the album will kind of hopefully bring it all back into this like big center.

Yeah. I'm excited for people to hear the album because I do think that the singles so far have kind of maybe like in a certain place of like really upbeat and catchy and chaotic. And the whole album is not that way. But, you know, we talk about what singles we want, but then you also have input from management, the label, what we think singles should be. So yeah, I'm excited to get the rest of them out. There's a lot more areas it touches than just what the singles have so far.”

Okay, cool. Obviously, for “God at a Festival,” it was very like, gospel-y. What made you go in that direction? I liked it. It was very cool.

Little Stranger: “Andy Frasco made it go in that direction.”

Really? Okay.

LS: “Yeah. He's a good friend of ours. We got to tour with him. Once we toured, we became kind of like soul best friends.

Freakishly like best friends. This guy is our boy. We had a writing session in Charleston and we brought our other friend Ross Bogan in. He's an amazing keyboard player. And we were just kind of like, no plan, just like, let's make a song. And we all agreed, we were like, let's make something fucking upbeat. Typically with our stuff, it's a little more like behind the beat. So we wanted like a driving song. He wanted it to be in this gospel world. Ross is so good at keys.

He's like, yeah, something like this. And he made it happen immediately. So it was a really easy, fluid session. And then bringing in the lyric of like, if you're already in gospel and you could say God anywhere in there.”

Right, right, right. At the festival.

Little Stranger: “So yeah, it was cool. That's about as far away from what we typically do, I think, as you could get. And that was kind of nice to try that out too.”

Yeah, show that off. So I know Kev was saying that this is your first Gov Ball. So who are some people that you guys are excited to see right now?

Little Stranger: “Well, I was sad. We missed Post Malone.

Just as a, I mean, talk about a guy that came from a like ‘White Iverson’ as the hit. And then to get to where he's at and to be this beloved. But a couple of our team got to see him and they said it was phenomenal.

I mean, The Killers tonight are like a band that grew up in Vegas and became as big as they did is also pretty, pretty impressive.

But like, I want to see SZA. I want to see SZA tomorrow. I think when ‘Good Days’ came out, I probably listened to it on repeat for three weeks. And just like, it was like every shower. I was every day waking up and put on that song. And it just, yeah, she's scary good. She's scary good, I think.

Yeah, I want to say, I mean, I'm excited for The Killers for sure. And then we, this is like our third festival in a row that Sexyy Red has also been on. I would like to see her too. Very cool.”

Thanks again to Little Stranger for taking time to sit down with us. You can check out their brand new album Sat Around Trippin on all major streaming platforms and follow them on Instagram and Facebook

 

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BATHE ALONE: INTERVIEW


by martina rexrode

photo by lindsay thomaston

Bathe Alone is the musical amalgamation of artist Bailey Crone’s ideas and inspirations. Working closely with producer Damon Moon, Crone dropped Bathe Alone’s sophomore album I Don’t Do Humidity just a few weeks ago. The album is filled to the brim with material pulled directly from Crone’s personal life that surrounds this release with an incredible authenticity and a hazy sonic atmosphere. We talked to Bathe Alone not long after the album release, touching on the creative process, the influences of a background in classical music, and future goals.

It’s been just over a month since your album I Don’t Do Humidity dropped. How are you feeling? What was the first emotion you felt on release night?

Bathe Alone: “So the day the record dropped, we were actually on the road and playing a festival in Nashville. To be honest, show days are so crazy, I didn’t have a real chance to process that the whole thing was out! We had decided to play some new songs from the record that we’ve never played live before, so that was one small way to soak it in. It was nice to be able to spend this day in the sun with my friends.”

Which song were you the most excited for listeners to hear?

Bathe Alone: “I feel like ‘Victims’ is the song I’ve been most excited to see out in the world. I’m really proud of that one, and it tells such a huge part of the story of this album. During the rollout of the album, it’s been hard to keep that one a secret.”

What made you choose a lyric from the opening song “Lake Sympathy” as the album title?

Bathe Alone: “The album ended up having so many references to water, but in a negative way. Toxic relationships and divorce, things that really weigh you down. When we were trying to title the record, ‘Lake Sympathy’ had already been written, and reading that line back just felt like the right thing to tie all those concepts together, but with the attitude I want to carry from here on out. I don’t want to feel weighed down by those things anymore. Despite how serious the content of this record is, I’m actually a big troll in real life, so the title sounds almost as snarky as I would say it in real life.”

What was the creative process like? Did you pull in any collaborators or try any new techniques throughout the making of the album?

Bathe Alone: “This record took a long time, but it was just me and Damon doing what we do at his studio, but for a lot longer. We don’t allow a lot of people to be in the studio when we’re cooking, just so we can stay hyper focused and in the tone zone. As far as new techniques, we’re constantly trying to keep the process inspired, so there’s almost always a new thing we’re experimenting with, sonically. On this record specifically, it feels like every time we got a new piece of gear, we used it heavily on a song, and that has a big impact on my memory of it. Like ‘Victims’ has this fretless jazz bass and a Mellotron, and ‘Fresh Start’ was a Microcosm Hologram doing really weird things to drum machines and vocals.”

How has your background in classical music affected the sound you’ve created for yourself today?

Bathe Alone: “I think I have a good grasp on harmonic movement and how to support chords to get the right emotion based on the surrounding arrangement. In other words, I try not to think like a player in a band. I try to think from the bird's eye view. I want to see the picture as a whole. I feel like if you think like a player in the band, then ego gets involved. You may want to show off because you can, but that doesn’t always serve the song. I try to do things that are appropriate for the vision as a whole. Dynamics are the most important thing that I learned growing up in all those ensembles and bandy bands — it helps in deciding what the most important instrument is to be heard at any given point.”

What is the biggest incentive you’ve discovered for delving into such personal material in your music?

Bathe Alone: “I can’t afford therapy.”

Are there any goals you have for yourself or your music for the second half of this year?

Bathe Alone: “I’m looking forward to getting back on the road and really giving the songs on this album their own lives on stage. I feel like they always take on a brand new energy with the band, so I’m really pumped to play some shows and connect with our fans!”

 

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