'PERSONA' / HALF•ALIVE: REVIEW


by olivia powell

While it may seem evident from the title, half•alive’s new album Persona embodies a core element of music — humanity. The humans behind the band include lead singer Josh Taylor, drummer Brett Kramer, and bassist J. Tyler Johnson, whose combined artistry proves to be enduringly genuine. The opening title track itself hints at the sonic stability and measured chaos to follow. With frenetic synths, the kind of chaos that exists in humanity is something half•alive manages to convey in subsequent songs like “Automatic.” After the thirty-two second title track (it’s short, but certainly not a skip), “Sophie’s House” follows after with a steady beat. It could easily be taken for granted, the kind of groovy foundation of drums and guitar that half•alive builds with each song. It quickly became clear to me that their dynamic range is a part of the sound; the contrast between verses and choruses is often sonically drastic, but doesn’t feel jarring either. It’s an album sure to captivate crowds, and casual listeners who simply can’t resist a good beat. To say the least, hearing this piece of art live would certainly be incredible.

In listening to Persona all the way through, the song I was most excited to replay was “Bleed It Out.” Not only did I get chills on the first listen, but the thoughtful lyrics and production may just be my favorite on the album. It’s a sound that feels somewhat reminiscent of 2010’s electronic pop, while still reinventing itself with distorted guitar and shouted refrains of “bleed it out!” Choruses like this one soar. It’s a kind of freeing appeal to listen to your heart, while still lyrically maintaining an ambiguity left up to the interpretation of the listener. “People” contemplates the idea of sonder (the realization that every human has their own lives and personal experiences), while synthesizers and vocal layers create a lush soundscape leading into the second chorus. It’s artfully crafted, and so clearly full of intentional lyrics and sound dynamics. I know it's a song I’ll be analyzing for some time to come.

It’s a delicate balance to be able to write impactful “bangers,” as well as down-tempo songs. A perfect example of this kind of balance is on “Long Drive” with Kacy Hill, where her vocals are a match that just seems to make sense. The song’s ending picks up a bit, with the addition of horns (possibly my favorite part) and more drums, easing back into the upbeat “Lie, Lie.” Other slower songs like the Jordana-featured single “Songs,” and closer track “Thank You,” don’t feel out of place on this album. It’s not an album that could be described with one genre, in the same way that humanity can’t be described by one emotion. Persona holds room for the complexity of the human experience, while providing consistently solid music. 

The chorus of “All My Love (Imperative)” feels meaningfully repetitive, with a shimmering choir echoing the phrase each time. The song doesn’t just tell you “I’ll give you all my love,” but also sounds light, airy, and infectious. Elements like jazzy horns, and pluck-aided drum breaks like the one in “The Point” really make Persona stand out. The more I listen to Persona, the more I catch. Every song is a playground of sound, with little riffs between phrases or subtle basslines, without ever feeling unnecessarily crowded. It’s an accomplished culmination of eleven songs, each one different in a unique way. The album concludes with a grateful “Thank You,” which ends with a singular guitar strum. I love simple moments like this almost as much as the high-energy ones, because it’s a mark of the feat half•alive has accomplished. That final strum feels like a simple closer after wowing an audience with everything they’ve got.

 

JANET DEVLIN: INTERVIEW


by martina rexrode

photo by emma-jane lewis

On her latest single “Red Flag,” Northern Irish artist Janet Devlin taps into her country music roots that extend all the way to her childhood. Her country-rock style shines through in her clever songwriting and humorous personal voice. The single is one of several released in the months leading up to her full-length album Emotional Rodeo, out November 15th, a project that covers a wide range of emotions and specific circumstances that still somehow feel relatable. We talked to Janet about each of these releases, her creative process, and the popularity of country music in Ireland.

You recently released your single “Red Flag,” which does a clever job of turning what is typically seen as a negative term into a positive. Can you tell us a little about where the inspiration for this song came from?

Janet: “I dated too many dudes that were walking red flags. I got out of a three year relationship that was littered with red flags… but I still stayed. I always blamed myself and my BPD (borderline personality disorder) for our issues. That I was the red flag for my reactions. Even though that wasn't the case. But I still carried the safe blame around for quite some time. But when that ended I decided to manifest a ‘good guy’ for a change [laughs]. So this was just me writing my itemized list for the universe to give me one!”

What was the writing process for “Red Flag” like?

Janet: “It was easy but it was long! Katie [Rae, producer], Jamie [Sellers, producer] and I only managed to write a verse, pre and chorus on the writing day. We cycled through so many ideas on the day before we landed on this one. But we ran out of time. In Australia I wrote the second verse and pre. Plus wrote a bunch of different ideas and melodies for the middle 8. When I came back I hopped in the studio with Jamie to lay it all down in a demo.”

How does “Red Flag” and your other pre-release singles lay the foundation for the album as a whole?

Janet: “I would say the songs I choose have done a good job so far at showing how varied the sound is on this album. The song ‘Emotional Rodeo’ is very different sonically from ‘Red Flag.’ The album is a melting pot of all my favorite styles of country.”

Which singer-songwriters in the country music industry and beyond inspire you the most?

Janet: “This is so tough because I've been listening to the genre my whole life. My early influences were Hal Ketchum, Alan Jackson, Kenny Rogers, Dolly Parton, Brooks and Dunn, etc. Not country but bluegrass, I would say the soundtrack to O Brother, Where Art Thou? shaped me as an artist as well. My modern influences would be Chris Stapleton (though I originally discovered him through The Steel Drivers in around 2015), Jackson Dean, Brothers Osborne, Cory Marks, Dierks Bentley, Ashley McBryde etc.”

You were born and raised in Northern Ireland, which is quite far from Nashville. Where did your love for country music stem from?

Janet: “Country music is the biggest genre of music in Ireland. Unsurprisingly so, when you look at the history of Irish (and Scottish) folks immigrating to the South/the Appalachian mountain range. I even have a bunch of distant relatives on both sides that live not only in the South but in Nashville as well. With country being the genre everyone in my house agreed on, it meant it’s what I grew up listening to the most.”

How has your creative journey through the last decade or so prepared you for where you are today? What is one memory or piece of advice that still guides you?

Janet: “It’s been a learning curve for sure! Through playing around with genres and writing styles over the last 13 years I’ve learnt my strengths and weaknesses — sometimes the hard way [laughs]. I always go with what excites me. At the end of the day, I’m the one who has to talk about the tracks in interviews and in streams, etc. It also means if it doesn’t do as well as I’d hoped, it's fine because I love it. Something that sticks out to me is a phrase my managers use. ‘We’re making music, not saving lives.’ It’s so good at putting my feet back on the ground and zooming out of the current stress.”

How would you describe your forthcoming album Emotional Rodeo in three words?

Janet: “Giddy, stirring and honest.”

What do you hope listeners take away from not only “Red Flag” but the album as well?

Janet: “I hope they take what they need from it. If they need a dose of silly, goofy, fun, uptempo tracks, hopefully it’ll bring them that. If they need an aid in feeling their feelings, I hope the deeper tracks will help them access those.”

 

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BEEN STELLAR: INTERVIEW:


by izzy petraglia

photo by gabe long

New York City is widely-known as a nucleus for producing some of the greatest guitar bands — especially during the peak of its underground DIY scene in the 2000s to 2010s. Coming together over mutual yearning to exist in this space after it had ceased to exist, Been Stellar was formed. Vocalist Sam Slocum and guitarist Skyler Knapp began performing under the band’s name in their Michigan hometown as high schoolers, and were later joined by bass player Nico Brunstein, guitarist Nando Dale, and drummer Laila Wayans — completing their close-knit quintet. 

After playing numerous gigs at bars and creating a scene of their own within New York — collaborating with close friends in the process, the group reconfigured themselves when the world came to a halt during the COVID-19 pandemic. They utilized that time to hone in on creating their own signature sound and promptly hit the road when live music returned to support acts such as Fontaines and Shame. Time spent on days off during these tours allowed them to piece together Scream from New York, NY, their shoegaze and post-punk blended debut album released in June 2024.

This album truly showed why they’re one of the best bands coming out of New York right now, especially after connecting with the crowds on their most recent tour with Fontaines D.C.. Unclear caught up with Nico following their opening set at Fontaines D.C. in Toronto on navigating the saturated New York music scene and creating a sound that reflected the band’s personalities.

First of all, I loved your set Friday. The crowd also seemed to really like you guys. I was reading people’s posts after the show, and I saw a lot of people complimenting your performance!

Nico: “Yeah, it was good — the reception was really good. We met a lot of people at the merch table afterwards so that was really nice.”

How has touring been so far? Are there any stark differences between touring with Fontaine's versus other bands you've been with?

Nico: “Touring’s been great. Definitely, I think personally this [tour] has been my favorite one. As a band, it's been our favorite just because the crossover has been so successful.

This is definitely the first time we as an opener have felt that the headliner’s crowd has really gravitated towards us. We toured with Just Mustard and there was good crossover, but they definitely also have a more noisy and aggressive sound. So people who are diehard Just Mustard fans are gonna get lost by a couple of our more pop-y and sweeter songs. [Touring with] The 1975 was obviously a very stark difference — not to say that people didn't like it, but the ratio of people who were instantly hooked by our set was not nearly as much as it has been for Fontaines. So yeah, this has definitely been the most different one for sure. I think we're making the most fans even though these aren't necessarily the biggest shows that we've opened for. It’s been very fulfilling.”

Definitely. Even though it may not have been the biggest shows you've opened for, like you said, I feel like fans of those bands that are still coming up tend to appreciate an opener a lot more. You kind of end up gaining a stronger fan base from those sort of headlining sets. I know not all of you are from New York, but you guys started the band in New York. I've read pieces where you spoke about how it was kind of difficult to break into the New York music scene at first, especially because it is very, very saturated. There's obviously a lot of music that comes out of New York, but I wanted to know how you guys navigated building your presence around the city and are now building it around the world as you continue to grow?

Nico: “When we first moved, it was Sam and Sky’s project from their high school band, and they wanted to keep it going. So they self recorded and put out an album during their senior year of high school. Me, Nando, and Laila joined in to fill out their band. We were playing a lot of, I  don't want to say shitty venues, but bars, essentially. We were just saying ‘yes’ to every single show, which maybe it was good, maybe it was bad, but I think we definitely got our name out there our first three years from 2017 to 2020. 

Honestly, leading up to COVID, live music was in a really terrible place. It was so expensive to go out to a show and I think people in the US are less inclined to just do music discovery, like buying a random ticket and trusting the booker. I was also booking shows and I think people were just really desperate to fill out rooms, so you’d just go by Spotify listeners. So yeah, there was no music discovery going on or going to a random show because it was so expensive, drinks are also really expensive, and then you don't get a lot of younger people because they're really harsh on IDs. Then, there’s early shows and late shows in New York. If it's an early show, you get hard kicked out at 9pm, which is too early and now you've already spent like 40 bucks on tickets and drinks. Or it's a super late show and you don't start the show until 10 or 11 and you're not done until 2am. It was never ideal to go out to live music for smaller bands in New York pre-COVID. 

I think COVID was a really good thing for us in terms of being a band, because I think that's when we looked at each other and decided whether we keep doing this or not. I think we decided that if we're going to keep doing this, all five of us need to write and contribute equally. I think that was a big changing point — just focusing on writing together instead of performing together. We did a DIY tour in the US with this band called Catcher that we're really good friends with in 2021. I feel like that was the first time we went out trying to get our name across nationally. The US is really hard because it's so big and a lot of people here still don't really care about rock music. It's getting more popular now, obviously. 

In the UK, it was a lot easier because it's kind of the opposite of all the problems that the US or New York had with live music. Tickets are cheap, the drinking age is 18, promoters are well known to curate good bands. There's just a lot of trust, and the thing to do is to go out and go to a show. Also over there in England, pubs close at 11pm or midnight and that's a hard cut, whereas shows I think can go until two or three AM. So it just makes way more sense to go to a show if you're going out. Rock music has always been popular there and it never really fizzled out in the 2010s. So honestly, that's what helped us when we put out our EP. We weren't really doing well in the US or in New York until we came back from the UK. We got buzz in the UK and came back, it was weird how it happened.”

True — okay nice! That's really fascinating because I feel like, like you said, there's always rock bands coming out of the UK, but it kind of died down a lot in New York. Like you said, it’s just starting to come back, but that brings me to my question, who is on your Mount Rushmore of New York bands?

Nico: “Personally or as a band?”

Either or, I’d say why not do both!

Nico: “I'll try to maybe combine them. I would say The Velvet Underground is a big one for me and Sky. Television is also a big one. Recently, the Yeah Yeah Yeahs. I didn't really grow up listening to them too much, but more recently, I've gotten pretty deep into them. Sam and Sky are big fans. And then I'll do DIIV.”

All good choices!

Nico: “Yeah, their new album is probably my favorite of the year so far. That was another one that I wasn’t really exposed to in high school, but Sam, Sky, Nando and Laila were all huge DIIV fans in high school and now I'm on the wave.”

Now you're like, okay, I get it now. I'm catching up.

Nico: “Yeah, exactly.”

Just going off of that, I guess a lot of these bands can be inspiration, but what did it look like to navigate creating your own personal sound beyond each of your own musical influences?

Nico: “We all come from different backgrounds. Nando is from Brazil, he grew up playing a lot of bossa nova so he has definitely more jazzy chords sometimes. I think he was maybe scared to introduce that at first, but then we leaned into it a bit more. When I first started music in high school, I didn't really play any instruments, I was doing a lot of electronic music. So I was thinking a lot about production and structure, and making it more pop-y, if that makes sense. Laila produces a lot of trap and rap beats, so I feel like that influences a lot of her drumming.

I think it took a while for us to ‘gel’ the five of us as songwriters together. I think that's what the EP shows, the first bits of what that looked like. When we started touring more consistently, like the first real bit of touring we did, was right before that EP came out — so after it had been recorded. We were on the road for three months together. I think that's the first time where all of our music tastes started to compile and homogenize a bit. I think you can hear it a bit more on the album, where it's more contained but I feel like everyone has a voice on each song. There's definitely a more consolidated version of what the five of us really look like on the album, whereas the EP was still trying to figure all of our voices out.”

Nice, love it. I also didn't know at first that you guys named your band after Ben Stiller. This guy I know told me and I was like, that's fucking awesome. I'm obsessed with that. And no shade at all, but I was just wondering, why Ben Stiller?

Nico: “No yeah, I don't know — Sam and Sky came up with it their freshman year of high school. Sky says that he didn't mean to. I guess they talked about this artist called Com Truise and using a celebrity's name. I think Sky just came up with it on his own. I hate when people ever ask me what the band’s called. It takes me about a minute to describe it to them because when I say it out loud, they think I’m just saying the actor’s name. I think when you read it, like if you haven't heard it out loud at first, it looks cool and it sounds cool, and like, maybe you don't understand the pun at first. But yeah, always telling people what the name is, is like, I don't like cause I read the name first.”

Yeah, I read the name first, so when I found out I was like, '“Wait, Ben Stiller?”

Nico: “It's kind of weird that our name is attached to him. Because there's no homage paid to him at all.”

Yeah I was just really curious why him? Because if I ever named a band after an actor or something, I'd pick Michael Cera, or like Kieran Culkin.

Nico: “Yeah, I don't know. I don't think any of us are particularly fond of — I mean, I like him.”

Yeah, no, it’s not shade!

Nico: “I really like Severance, which he directed and I think wrote as well! So I am a fan, but I don’t think any of us are obsessed.”

I love that piece of lore. I just have two more — what were some challenges you guys may have faced as a group while recording your debut album that came out a few months ago?

Nico: “I think the biggest problem at first was maybe the nerves of doing it. We were working with Dan Carey, and for me personally, he was my dream producer. So I know I was a bit nervous working with him. I was hoping to work with him for years leading up to it. I just remember on the first day when we were trying to track, everyone was really stressed and nothing was sounding right. We were just playing way too fast or what not. 

After a couple of hours of just settling in, we started to lock in a bit. So I think the nerves were tough. Then, we spent a week and a half just on vocals, we finished all the tracking of instruments in the first three or four days. The next week and a half was just on vocals. Not that Sam was struggling with it, he can sing the song perfectly every time. Dan really pushed him to get something extra out of him, which I know was pretty tough for Sam. I think he learned a lot as a singer doing that, and I think he improved a lot as a singer through that — but I know it was tough for him. Because [at that point] it was like, everything was kind of on him since all of our work was done as a band. It's also different because you can play a song on bass or guitar 100 times super easily, but vocals, I can't imagine the vocal strain that he was facing.

It was also our first time recording a full album and we didn't record any demos onto a computer.

We just knew the songs and how to play the songs live. We didn't really come into the studio with any ideas of overdubbing or any extra ideas that we wanted on the tracks besides the raw sound of the band. So I think we felt a bit of pressure to come up with stuff to layer on top of it and knowing when to stop. I think at first it was this notion that we had to record a ton of extra tracks to make it sound more full. Just learning to not overdo it was definitely a big thing.”

Honestly, I can't imagine the vocal strain in the process of recording music, having to do it over and over. 

Nico: “Yeah, it's also singing with a band going on at the same time. I feel like it’s one thing being the only one in the room just singing from headphones, but it must be really different and probably a bit more intimidating [with a band]. You're not being masqueraded by anything. But I don't know, I'm kind of speaking for myself, just imagining.”

We’re just imagining what it could be like — it’s not like we know [laughs]. On that note, finally, I just wanted to ask now that the album's been out for a few months and this tour has been underway — what can people expect from you guys within the next year? What are you hoping to accomplish in 2025?

Nico: “In 2025, we're writing as much as we can now so we're gonna try to start recording as soon as we have another album. We're doing headline shows in January on the East Coast and headline shows on the West Coast in May, and I think we're starting to plan out a bit of a festival run in Europe right now. So I'm really excited for that. And then yeah, that's about it for 2025 so far.”

Not even just about it, that's a lot for 2025!

Nico: “Yeah [laughs], just trying to book out the rest of the year right now.”

 

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'BAD START' / STRATEJACKET: REVIEW


by martina rexrode

Bad Start is a fairly accurate album title for a band who spent their early days gigging around San Francisco (under bridges, on beaches, you name it), were signed to EDGEOUT Records in 2021, and, amid each of those milestones, dealt with all the uncertainty the pandemic lockdowns brought to the music industry. For months, even years, the Northern California alt-rock/pop punk trio weren’t sure when they’d play their next gig. Now they’re releasing their debut album composed of 11 tracks that were recorded back in 2022 in Vancouver, five of which were featured on a self-titled EP, and it’s clear just how much fun they were able to have amid such stressful and confusing times.

The members of StrateJacket — Jackson Roemers (lead vocals, guitar), Fabian Angel (vocals, bass), and Nate Mangold (drums) — amass an incredible assortment of musical influences. From The Beatles and The Black Keys to Led Zeppelin and Elton John, it’s safe to assume that these guys were raised on music in all its forms. The two influences that stood out most after listening to the album were Green Day and The Fratellis. From the first line of “Bad Start,” and especially on tracks like “Be My Drug” and “Living a Lie,” Roemers’ vocals screamed Billie Joe Armstrong. At certain points, it almost sounds like he’s talking you through the lyrics, but then the chorus hits and it’s undeniable how great his voice is while conveying the words they’ve written. The Fratellis influence is noticeable in the constant presence of head-banging guitar riffs and standout basslines, as well as their ability to create a catchy chorus.

With the variation throughout the album from punchy, energetic songs like “Bad Start” to the stripped-back energy of “Torch,” it’s impressive how many different musical sides they’ve showcased on a debut album. Their theme of, in their own words, “being an idiot but meaning well” on the title track feels pretty consistent within the album as a whole. The late 90s and early 2000s musical style harkens back to dozens of young artists and bands who embraced their messy teenage years and immaturity to create some of the most relatable songs to date. In a way, StrateJacket appears to be tapping into a similar niche.

In simple terms, the album is a whole lot of fun. It’s youthful and a bit dark in its humor while remaining authentic to the sound of the Bay Area’s local scene. In their music videos, you see three guys goofing around and bringing their songs to life. When listening to their songs, you hear a sincerity that is almost infectious. When asked about their identity as a rock band, they say that they’re proud to be placed in that category, “When people hear the album, I hope they feel a little nostalgic,” Angel says. “I want our listeners to feel like kids with guitars and basses in their bedrooms and not alone. I want them to know that little bands still want to be big bands.” This little band is off to a pretty great start to me.

 

SLOAN GOLDEN: INTERVIEW


by mariah estran

photo by lauren nieves

In late September, Sloan Golden released her debut EP, Long Conversations. The six-track project highlights pivotal discussions had over several years — the chats during a journey of grief and healing, and conversations where friends would lend an ear. Now, fans can find solace in those cathartic releases.

During the fabrication of Long Conversations, she found that while the topics were deep, they allowed her to process her emotions further and ultimately understand that these experiences are not only singular. Songs like “Dressing Room” describe that feeling that overcomes you while standing in a department store mirror, while “Dandelion” tackles the aftermath of assault. Then, the scene is set in “Parking Lot,” as you experience those late-night drives that spark a much-needed dialogue with your friends.

“I hope that the EP becomes a companion to whoever needs it,” she says on the EP. “These stories are specific to me but they're also everybody else's.”

Sloan Golden took a moment to tell us more about creating Long Conversations, sharing personal stories, making “Dandelion,” and her personal growth.

There’s a major moment in this new EP. You describe permitting yourself to process trauma. The project, overall, allows space for that, but why was it important to disclose these honest and meaningful stories to your listeners?

Sloan: “While I was going through these things — you never go through trauma and you're like, ‘Oh, I'm going to write a song about this.’

Writing all of them helped me to process those events. It helped me get to the other side where I wasn't holding on to things as much. I was accepting things that have happened in my life.

I was sharing those stories with people to let them know that they're not alone and to provide a source of support through music for anyone who might relate to the topics on the EP.”

While creating this EP, was it easy to do so? Or had you already arrived at a place where it became okay to lay it all out?

Sloan: “It was a process along the way, the songs were written over six years. The oldest song on the EP is ‘Dandelion,’ which was born in 2018.

It was a process of getting all the songs together. As I was writing them, I didn't know they were becoming this EP, I was just writing things I was feeling. Then they all came together in this conceptual way.

I think when I wrote the last song, ‘Long Conversations’ — that was the last song of the EP in 2022. It felt like the bow on top of the whole thing. Like that chapter is closed, I've addressed, for now, what I needed to say.”

The EP is set up to go through the stages of grief. When you started piecing it together, how did you see that it was naturally describing these pillars?

Sloan: “I was driving home one day and thinking about how the EP would be set up — chronologically, in terms of the events and how they happened in my life. I was thinking about the themes of each song. Whether it's the EP as a whole, or the songs individually, they all hold one stage of grief or many. Like, in ‘Dandelion,’ you can go through all the stages of grief in that song alone.

In the entire EP, you go from the beginning to the end, which is acceptance.”

Do you feel a sense of release now that it is complete and released to the world?

Sloan: “Healing from any sort of trauma, it’s a constant back and forth.

I’ll say, having captured all of these moments over the last three years and putting them into this EP — I feel like it’s weird to say pain is worth it to make good art. But I'm glad that it wasn't for nothing. I was able to take it and make something out of it to help me process those things.”

For this EP, the overall sound, you found inspiration from artists such as Maggie Rogers, but how was it encapsulating these major emotions in your sound?

Sloan: “The modernism of Maggie Rogers' first production style (mainly from her first album). Also, the raw instrumentation of the band Daughter. I wasn't sure how those two would mesh, but when we started reproducing the songs in 2020, we found that in ‘Dandelion.’

That was the first one we started reproducing and it was interesting. Some of the songs on the EP can be a little angrier. ‘Dandelion’ deals with an intense subject, but is carried in such a delicate way, sonically.

I wanted to infuse the songs with the elements of anger and panic. So at the end of ‘Dandelion,’ there are sounds of high-pitched synths, but they're actually high-pitched screams.

Then in ‘Dressing Room,’ the melody has a cynical nature, which is an allusion to cynical thoughts. Then in ‘Corner of My Eye’ we incorporated my sophomore college roommate. She videoed me yelling at someone on the phone.  I took that audio clip and put it the song at the end of the bridge; and the beginning of the song.”

I want to circle back to “Dandelion,” specifically the visual imagery. You used black goo to symbolize permanent scars. What can you tell us about the music video and the creative process behind it?

Sloan: “Director Maddi Boll and I had worked on the creative for ‘Dandelion’ for a long time. We wanted to make sure that whatever we did wasn’t going to reemerge people in whatever trauma they were potentially going through. We want to be subtle about the ways that we visually showcase an assault happening.

I wanted to bring life to the feeling of being permanently marked by a traumatic event. So we made these two different worlds. One world, it was real, where all of the actions were taking place. Then the other world was like in the field where I covered myself with black goo. It's an abstract interpretation of what is going on in the real world. When I get touched on the cheek by the male character in that music video, black goo shows up on my cheek.

It was a cathartic experience to make the music video — it was a little bit harder emotionally than I thought it would be. But it is one of the videos I’m the most proud of.”

How do you feel these songs have unveiled your growth, musically or even as an individual?

Sloan: “When I had the first four songs in 2020, I thought they were amazing, and it's not that they weren't, but they were amazing for a 21-year-old me. Now, four years after that, it’s been amazing to see how much those songs have grown, and how much I have grown both myself and my songwriting. Also, my ability to convey what I want musically.

I worked with four different producers on this EP, it was great to see what kind of working styles I prefer and the best ways to articulate what I want sonically. My biggest concern was that it wouldn’t be cohesive because so many people had touched it. But I feel confident in all of the songs, even though they have so many people, they are also mine.”

What would you like listeners to take away after they have a moment with this project?

Sloan: “I hope the EP becomes a companion to whoever needs it.

I think there's an interesting conversation to be had about what is called ‘Sad Girl Indie Music.’ Phoebe Bridgers has kind of been a part of it and so has Lucy Dacus. My wish isn't for any of these songs to make people sad, but for it to be something people listen to when they’re sad and need comfort.

I try to be specific in some of my lyrics on the EP, like with ‘Parking Lot’ and ‘Dressing Room.’ Even though those things are personal experiences, I think everyone has their own parking lot story or that retail store where they had a meltdown in the dressing room or stayed up all night with their friends because they didn't want to go home.

These stories are specific to me but they're also everybody else's.”

 

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