An Interview with Deadbeat Beat by Molly Alexander

Detroit band, Deadbeat Beat, fuse their past musical experiences with robust lyrics of introspection, creating a sound that defies labels. In preparation for their sophomore album, How Far, I spoke with guitarist/vocalist/songwriter Alex Glendening and drummer/vocalist Maria Nuccilli. We discussed their early days with Tacocat, the queer themes of their album, and drawing inspiration from the freaks and weirdos.

(Photo taken by Lauren Montgomery)

MOLLY ALEXANDER: Deadbeat Beat has a long-rooted history, with music spanning from the early adolescence of your high school years all the way to modern-day adulthood. You’ve worked in various other bands along the way such as alt-punk group Tyvek and psychedelic pop band Outrageous Cherry. How have these previous experiences influenced your current sound and values?

ALEX: Tyvek and Outrageous Cherry have been two of my favorite contemporary groups out of Detroit since right around when I started attending shows in Detroit in the early 2000s. Both bands deserve far more attention and praise than they get. Though sonically they exist in different sections of the record shop, both bands consist of members who will get animated if you bring up the Spike Drivers. I am very grateful to play in Tyvek. Tyvek is a band that was (and still is) super influential and adored by people my age. I feel like sometimes when I come to town long term fans feel one way or the other about this random guy who looks like them being in the band.

MARIA: I am very grateful to have played with Outrageous Cherry! Alex and I, as he said, we're big fans of both Tyvek and Outrageous Cherry when we were in high school. We met Matthew from Outrageous Cherry when he worked at our favorite record store in town, Car City. We used to come in and bug him and he would actually take us seriously and vibe with us about records. Definitely one of the first musicians I respected that we ended up feeling respected by, especially as kids. A few years later he produced our first record, When I Talk To You. We recorded it with an eight-track at his house. My drums were in the kitchen and guitar amps were in the living room. We did vocals by the front door. Matthew’s style of recording and producing emphasizes the capturing of live energy of the band, whether or not the instrumentation is technically perfect, and if you spend obsessive time on anything it should be getting the vocals perfect ala Beach Boys. We learned from him that the best take of a song is often the first one and if you can’t get it in three you should move on. This is an approach that has stuck with us. It’s how we did How Far - pretty much everything on there is the first or second take.

Your upcoming album combines your familiar pop melodies with emotionally charged lyrics. How did you unify each other's personal stories and emotions into the narrative of the final album?

A: Every time I write a song it's different than the time before. I like to think that I continue to get better at writing them as time goes on, or at least I continue to approach the writing in different ways. Also, songwriting is kind of a fluid experience. I'll sit with chord changes and riffs for years and years before they find the right mood. There are so many riffs that I play to myself constantly that I am very annoyed by. I'm annoyed that they haven't found their song yet, and that they're stuck just with me for the time being. What is similar about both of those records is that I was involved in a love-based identity crisis when I wrote them.  AKA I was hung up on some dude.

Your music explores what it means to be queer amongst a predominantly heterosexual crowd. What message do you hope to share with the LGBTQ+ community?

A: I like to write pop songs because they can reach people on a weird base emotional frequency. You don't have to completely vibe with what actually happened to the singer to relate to the song. I like the idea of my songs reaching lots of different people for lots of different reasons. I remember in high school hearing about the Magnetic Fields’s 69 Love Songs all being written by a guy who was obsessed with his boyfriend, and I thought that was just the greatest. I like the idea of someone hearing about how my songs are written by some gay guy trying to sort out their love life and identity and liking that.
Honestly, I’m interested in sharing my experience openly with allies and non-allies alike. Everyone needs to hear as much about the lives of queer people, even if it’s just that they went to CVS or whatever. It’s about recognizing that queer people are right next to you always and deserve space in real-time, not just in June when corporations don a rainbow trying to sell us sneakers and insurance. There’s room for us at every show for every genre of music, there’s room for us in public bathrooms, and there’s room for us to talk about our experience not just when it’s our turn.
When I was younger at a show or playing a show or at the record shop there was always some dude gatekeeping, saying things like “do you even know who Mark E. Smith is” or something. Now that it’s 2019 and it’s chic that I’m gay at the punk gig or whatever that doesn’t happen as often, but just because you’re not actively antagonizing queer people at the show doesn’t make you an ally. All you’re doing is not being terrible.

While you borrow sounds from the music of your youth and even earlier 1960s pop, your sound takes on a life of its own and redefines traditional genres. How would you describe your current sound to new listeners?

A: Since we draw from a lot of different influences, it's nice when people react to our music and tell us what it reminds them of. I write songs like a pastiche, taking small experiences and influences and tucking them into corners of the songs.

Who are your biggest musical influences and what inspires your band outside of the music world?

A: Here is a list of bands we love: Sparks, Fleetwood Mac, Neil Young, Buzzcocks, Parliament, the Clean, La Düsseldorf, the Byrds, Wire, Roxy Music, Look Blue Go Purple. This is not exhaustive.

M: Outside the music world, we were discussing this as a band and Alex shouted “Everything! The freaks and weirdos!” Which is basically it. Which is not to say we don’t actively enjoy stuff from mainstream culture, because we all sure do.

Your music videos open the viewer up to a side of yourselves that is both cinematic and sentimental. Watching “You Lift Me Up” for the first time felt like discovering a Wes Anderson B-Roll, it has this contagious warmth and colorful candidness. Where do you draw inspiration for your videos?

A: I would say that if anything I was inspired to film in front of a wind turbine because of a cool shot in Pedro Almodovar's Volver. Also just generally any time I've driven by wind turbines I've just obsessively stared at them as long as I could. Also, I often think about the title of the song "The Windmills of Your Mind". I like older movies because I like seeing how innovative they were with shots through the limitations of their equipment. I also love drone shots. Any time I have an idea for a shot it's usually something that requires a crane, and a drone is like a new, creepier type of crane. Drones make so many shots that were impossible possible now. And, also, I am very terrified of drones. I also love closed-circuit camera feeds.

You have played with the likes of Tacocat, Guided by Voices, and even Anna Burch. Looking back, do you have a favorite moment or memory that stands out? And how have these experiences influenced your current sound and performance presence?

A: My favorite moments are the time I threw a house show for Tacocat in 2011 which was the only time I ever got a keg for any reason, and the time Robert Pollard poked his head out of the stage curtain to watch the band better, then after the set he sang the hook to one of my songs at me.

Lastly, what's next for Deadbeat Beat?

A: We're going to tour, and then hopefully people like it and then we'll tour even more. Having toured internationally with other bands has made me really want to do it with this band. It's on the list. We've already started writing more material, and I would like to try and get some of it recorded before the end of the year. I know those songs are going to sound a little different than what I've done before because that is just what happens.

You can catch Deadbeat Beat on their U.S tour this summer:

8/01/19   Alphaville - Brooklyn NY                      8/02/19 Marx Cafe - Washington DC

8/03/19   Happy Dog - Cleveland OH                  8/23/19 SUCK IT @ UFO Factory - Detroit MI

8/24/19   Bric-a-Brac - Chicago IL                       8/25/19 Rozz-Tox - Rock Island IL

8/29/19   Blockhouse Bar - Bloomington IN      8/30/19 Mickey's Tavern - Madison WI

8/31/19   Cactus Club - Milwaukee WI               9/01/19 State Street Pub - Indianapolis IN

An interview with California Alt-Grunge Band Dem Bones (questions and visuals by Molly Alexander)

I spoke with Gavin Valladares, the drummer of Dem Bones, about the group’s creative influences, redefining their band identity and curating a one of a kind concert experience.

MOLLY ALEXANDER: You mentioned that 3 of the 4 members of Dem Bones used to be in the band Running On Empty. How has this previous experience influenced your current sound and values?

GAVIN: Our previous experience influenced our new sound and values because we love energy. Our energy is infectious and translates through our crowds at shows. We enjoy playing more upbeat type songs, and there's a few songs that we very quickly learned will always be a great song to cover such as “Bulls On Parade.”

Your music is reminiscent of both 90s grunge and early punk. Who are your biggest musical influences and what inspires your band outside of the music world?

Biggest Influences: Rage Against the Machine, Soundgarden, RHCP, Smashing Pumpkins, and Foo Fighters. 

Our influences outside of the music world tend to be artists. For Gavin, he loves artists like Basquiat and Chihuly. 

Live performances are a big part of your band identity. What is your favorite song to perform and what is something you'd like your fans to take away from your shows?

Our favorite song to perform might have to be “Bulls On Parade” and we want all fans to take away a sense of family and a fun night every time they come to a show. 

(photos from @cristinacasa)

How has your view of music and performance presence shifted since your first concert?

After our first concerts, we were all suddenly aware that there was so much more than just recording and releasing a song. For some bands, the live element is the most important part.

Any crazy performance stories?

At our last show, we had a huge showing specifically for our set and were playing under a little terrace. I'm not sure what song it happened during but a huge mosh pit erupted and there were other people hanging from the terrace while we played. That was crazy. 

What makes up a typical songwriting session? What comes first, the lyrics or the core instrumentals?

Usually one of us will develop a song on our own and bring it to practice, then each person adds their little nuances and the song slowly but surely takes shape.

Lyrically, what themes and thoughts are you typically drawn to?

Lyrically, we like to examine the thoughts inside of all minds and why people think certain things. Other than that, we write about past or current personal experiences. 

Online music streaming sites are highly saturated with an abundance of musicians trying to make their break. How have you distinguished you band apart from other DIY Alt grunge groups?

 We have a passion and energy that combines itself with all of our friends coming to shows to create an awesome environment. Our shows have a super friendly environment where everyone is friends until they're in the pit.

What do u see for the future of DIY music? How can bands thrive in an increasingly produced industry?

DIY bands have to stick together and support one another. That's why we make it such a specific part of our goal to build a community around music. A community is the band, the fans, and anyone who wants to be involved in one big music family. 

What's next for Dem Bones? Any upcoming shows or music fans can look out for?

We are playing a big art collective/swap meet type event on July 12 and playing a festival on July 19. We are looking to release a single soon and then a full length album!

Follow @dembonesband to stay up to date with future shows and song releases.

"Dermot Kennedy: An Introduction" by Blanca Reyes

Dermot Kennedy is a up-and-coming singer/songwriter from Ireland who is already making his name known in the music scene with his distinct voice and his lyrics that could pass as something you would read in a poetry book.

When you listen to his music, you’ll be able to hear his favorite genres and his influences take part in his art. Dermot has said that he never intentionally tries to sound like anyone but rather the mix of his influences just come naturally in everything he does: songwriting, vocals and production. You’ll hear his love for hip-hop in his production and lyrical structure, his love for Bon Iver in his songwriting and instrumentals and his love for David Gray in his vocals.

Dermot Kennedy is an expert songwriter. The way he creates a story that you can so easily visualize in your mind, a picture so clear that you feel like you’re actually experiencing it in real life, makes me speechless. I wish I could explain how beautiful his music is as well and eloquently as he writes his own songs but I am truly stumped here. Dermot is special - his songwriting and that powerhouse of a voice along with his perfect mix of genres brings something refreshing to the music industry.

It’s also refreshing to see a man who is so comfortable writing poetic, vulnerable and passionate lyrics in a society where men are typically scared or are not used to being so open with their emotions. And whether or not he intentionally means for that to be an anti-toxic masculinity message, he’s still setting his footprint in that movement along with other up-and-coming artists Sam Fender and Matt Maltese. His lyrics are what he’s starting to become known for (along with that voice of his) and one of the things I love about his songwriting and his intentions is that fact that there are no mean lyrics. I know it sounds silly but in a world where breakup songs can be pretty harsh ("I Don’t Fuck With You" by Big Sean, anyone? Still a tune though), Dermot’s breakup songs make me want to fall in love. He can be talking about how someone ripped his heart in two but the way he phrases it makes it sound almost heavenly. Here are some of my favorite lyrics of his:

• “When she kissed me, I felt a new freedom or something.” - "Moments Passed"

• “What’s important is this evening I will not forget. Purple, blue, orange, red - these colors of feeling. Give me love, I’ll put my heart in it.” - "An Evening I Will Not Forget"

• “Deep into the night, eyes closing, heart swollen with my loving for you.” - "A Closeness"

• “I wanna know who you are, I want your heart to beat for me” / “Remember the lake in the moonlight? Remember you shivered and shone? I’ll never forget what you looked like on that night” - "Power Over Me"

• “But she’s bringing the moon and stars to me. Damn permanent reverie” / “We were open and vulnerable, it was wonderful” - "For Island Fires and Family"

The fact that someone can love a person so much that they write songs about that person with lyrics as beautiful as Dermot’s is the purest form of art there is. It will bring you tears of joy, sadness and pure peace.

Dermot’s debut album (yes, debut!), Without Fear, is releasing on September 27th. Until then, get your tissues and ice cream ready and listen to everything he has released on any streaming service. Also, don’t miss out on future tour dates. Trust me, you’ll want to see him live.

Follow Blanca on Instagram and Twitter to see more of her work.

Lala Lala @ Big Bar Room by Tricia Stansberry

I saw Lala Lala for the first time in winter of 2017 when they opened for Cherry Glazerr. I had never heard of them before, had never listened to any of their music. Regardless, their music blew me away, and I was in love as soon as I heard them perform a cover of together PANGEA’s “Night of the Living Dummy.” Lillie West’s soft voice and emotional lyrics instantly drew me in and I went home that night and started to listen to Sleepyhead.

Lala Lala’s second album The Lamb came out in 2018 and was praised upon its release for the intimacy of West’s lyrics, as well as the musicianship put forth by the band. Personally, The Lamb was one of my favorite albums of last year, and it became the soundtrack to my winter.

I was excited to be able to see Lala Lala again earlier in June, as they made a stop at Big Room Bar in Columbus. A small, intimate venue with lovely lights and ambience, Big Room Bar proved to be a great venue for Lala Lala to perform their succinct yet comprehensive set. Playing most of the songs off The Lamb, including stand outs “I Get Cut” and “Water Over Sex,” I was blown away by Lille’s stage presence and the way she brings in the audience with the emotional aspect of her lyrics. Ending the evening with a stand out performance of “Destroyer,” Lala Lala definitely put on a set that I will not soon forget. Lillie joked at the beginning of the night that if they hadn’t had a successful set at Big Room Bar that they’d never return to Columbus again. Fortunately, I don’t think that will be of concern. Lala Lala’s set at Big Room Bar was one of the best shows I’ve been to this year, and I am excited to see the future of this band.

Follow Tricia on Instagram to see more of her work.

"Bleach" Video Premiere (+ Tour Announcement!) from The Aquadolls

If you’re in desperate need of some new bangers, look no further. Comprised of lead singer Melissa, Jackie on the drums, Kate on guitar, and Keilah on keyboard and bass, The Aquadolls are a California-based, self-proclaimed psychedelic surf-punk girl band whose music is fitting for every occasion. Right now, they’re releasing their new music video for the song "Bleach," which can guarantee some headbanging and even a guest appearance by Coldhart!

"Bleach" is completely propelled by angst. It’s the ninth track on their 2018 album The Dream and the Deception and Melissa describes it as “the turning point in the album where it shifts into the deception segment, where love is lost and the first reaction to this loss is anger. This song represents the pains of heartbreak, when all you wanna do is hurt back the person who hurt you worse.” You can feel this intensely through the steady but forceful drum beats and the unequivocally raw vocals. Not to mention the fun, vengeful lyrics. Melissa continues by saying “The chain in the music video, also pictured on the album cover, represents how I was bound by someone holding my true self back, and now that I am free from them, take the chains and tangle them up in the mess they started, forcing them to suffer a little bit of the pain I felt. Now while I would not recommend anyone chain their ex’s to a chair and pour bleach on them, this is a dramatization of a dream I once had on getting my revenge. Once again, do not try this at home!!! Only in your head. Maybe.”

As for the experience behind making the video, it sounds like a truly amazing time. Jackie said she loved sitting as their fans skated around the band in Little Tokyo. I was ecstatic to hear that during The Aquadolls’ live soundchecks, Jackie likes to yell her favourite line from "Bleach": “with a blow torch instead!” into the microphone repeatedly. Kate enjoyed holding some pretty symbolic candles during the shoot - they drip red, as though bleeding, “representing the bloody mess a heartbreak can leave you in” she says. Keilah was admittedly freezing in her crop top, but served some serious looks throughout. This was a monumental experience for the band as this was the first music video they all shot together.

But wait! There’s more! The band will be embarking on their Cali Aquababe tour, playing Warped Tour at Mountain View, as well as headlining in Sacramento, Fresno, and their first show in Bakersfield. Those of you fortunate enough to live in the area, go go go! They’ll be playing some classics, songs from their latest album, a new song or two, and a couple covers.

Jul 18 - Temblor - Bakersfield, CA
Jul 20 - Vans Warped Tour - Mountain View, CA
Jul 21 - Goldfield Trading Post - Sacramento, CA
Jul 22 - Strummer's - Fresno, CA
Jul 28 - Belly Up Tavern - Solanda Beach, CA (21+)

Tickets just went on sale yesterday morning at the-aquadolls.com/tour!

Words by Saffron Maeve + Visuals by Molly Alexander


We are thrilled and honored to be able to share with you a brand new music video for the Aquadolls' track "Bleach," shot + edited by dashymedia. Watch the video below and then keep scrolling to read an exclusive interview with The Aquadolls by Molly Alexander!



DISSOLVING FILM: Who or What inspired the visuals in your latest music video for "Bleach"? (any films, artists, things outside the music world, etc.)

JACKIE PROCTOR (Drums): I feel like it’s inspired by fucked up boys taking advantage of relationships and girls being like hell no bye bitch!

MELISSA BROOKS (Vocals and guitar): I was really inspired by red and black for this song and feel those colors represent the bloody nightmare heartbreak can be. As far as visual inspiration goes, I really love the scene in Texas Chainsaw Massacre where the main girl Sally is tied to a chair and how every one was taunting her, and I wanted to reverse the roles and situation in the video. Instead of chainsaws, pour bleach on your ex??? Also, I would never condone anyone to do such a thing, but this was definitely inspired by horror movies and how bad I wanted to get even with people of my past relationships.

What is your favorite song to perform and what would you like fans to take away from your shows?

KATE ROSE (Guitar): My favorite song to play is “Runaway” because it totally opens up the pit. It’s super punk rock and changes the mood from our other love songs. I hope our fans take away that
1. Girls can do anything
2. Our show is a safe space for everyone
3. We love you!!

JACKIE: My favorite song to perform live is “sick sad motherfuck” because it’s fast aggressive and gets out my emotions without me ever having to say them in words.

KEILAH NINA (Keyboard and Bass): I would say my favorite song to play live would be “Runaway”! It’s one of the first songs I got to learn on bass other than “Wander.” I really really love how it sounds all together and how the bass really made the song sound super full! It’s a real crowd pleaser and gets people head banging. I also really like playing the new song live! We don’t really have a name for it yet and haven’t played it at too many shows BUT it’s so so fun and raw. I’m so certain it’s going to turn into a crowd pleaser once we record, release, and start playing it live more!! <3

MELISSA: I love playing “Runaway (The Jam)” live! I love when the bass and guitars harmonize in the second breakdown, and then I get to put my guitar down and get everyone to clap and party with us!! It always gets the pit going. I also love singing “communicationissexy/idkhow2communicate” with the band because everyone sings together and Jackie made up some lines in between lyrics that aren’t on the recording. It’s fun to jam new ideas and try things differently live!! We also make the chorus heavier on “communication” and it’s always so surreal to see people singing along with us in the audience! The OG songs always get down live as well, like “Wander” and “Our Love Will Always Remain.” We’re going to throw in some older songs on this tour too, so I’m super excited to see how show goers react! Never be afraid to be a bad bitch and be unapologetically YOU. Much love and can’t wait to see you on tour!!

Interview by Molly Alexander

"Happy Birthday Melodrama! or on Growing Up Alongside Lorde’s Music" by Valentin Espey-Davis

In 2013, songwriter Ella Yelich-O’Connor released Pure Heroine under the name Lorde. I was 11 years old and the summer prior I had lost my home to financial ruin I could not yet fully understand. I moved in with my grandmother, where my new room claimed a cold tile flooring that always seemed at odds with the dusty, clotted, and warm air. It was incredibly still, and entirely silent.

Eventually autumn spilled into the Missourian streets and yet my room remained sunken with heavy summer melancholy. I pleaded to music to drive out my seemingly incurable fatigue; Pure Heroine answered. Lorde’s voice poured into empty space and moved me to revel in the hush, in the coolness at my feet as I moved wildly to the clean, sharp, magnetic pulses of the music. Within days I was conversing with melodies in the beginnings of an intimate dialogue between artist and listener.

Pure Heroine was unique because it spoke my reflection to me, empowering the image of my mundane existence. My skin was not perfect, but “in craters like the moon.” I wore clothes I lied about being thrifted, and sang along to the assurance that “we’ll never be royals.” Ridden with insomnia following another lonely day at a new school I internalized the cries of "Ribs," “we’re reeling through the midnight streets/and I’ve never felt more alone.” The promises, prayers, and passionate declarations of Lorde’s debut album allowed myself to feel the weight of a maturity that most adults tried to deny me.

Nearly four years later and June 16, 2017, Lorde released her sophomore album Melodrama, coincidentally coinciding with the precipice of my sophomore year. Again I found myself unconsciously internalizing the words that I listened to as if they were meditations. Sophomore year was the happiest of my life, the sunniest, a glimpse into joy I had not known since the deep, consuming battle with depression that had taken middle school away from me.

It was also manic, fevered, and carelessly young. The roar and crescendo that haunted the parties of Melodrama seeped into my own life. Lorde sings in "Green Light," “I whisper things the city sings them back to you.” I did not know this line was a guarantee and as the year unfurled I discovered myself tuning in to a collective murmur. I stood through car sunroofs and heard the cyclical story of loving, losing, dying, and evolving become louder and more melodious. I looked at my friends and knew that we were fireflies in glass jars: alight and fiery, flickering, dull, then dead. Pure Heroine taught me how to make a home, Melodrama taught me how to burn with it.

In an interview with Time Magazine, Lorde remarked that this album was “about pain, but it’s more so about joy—the process of discovering joy and reclaiming joy. Like crying and dancing in equal parts.” In accidentally mirroring the narrative arc of Melodrama, I reclaimed joy preemptively from thieves many did not know lingered on the horizon of the year. I found out second semester I would be moving again, this time across the country to New Jersey. For a while I told no one. It was time to burn with celebration, not anxiety. I laid in streets and gave stars new names with friends and we lauded rebirth. Hair dye stained my cuticles and my first contacts watered my eyes. I ignored endings and settled in beginnings, Melodrama playing the entire time.

Light bounced on the water of my apartment complex’s pool as I took pictures of my friends while it rained, "Supercut" and "Homemade Dynamite" joining the party from a phone speaker. Theo Wenner’s photographs of Lorde were tucked hurriedly in a backpack as we chased the imagery memorialized in album art during the summer storm. We snuck out to watch sunrises from tennis courts and picked flowers at midnight. I loved, I kissed, I wrote and laughed and sang (poorly,) I took out of focus pictures. In my sophomore year I found intimacy and secret keeping and recklessness that mirrored the fervent quality of Lorde’s sophomore album - and a year later, June 16, 2018, I finally moved again. I reacquainted myself with the quiet. I found cool pavement and my muscles remembered dancing. I was 11 years old; there were no strobe lights, no drinks, no lovers, just a world alone. The forceful distance that had been forged between myself and the experiences that had so consumed me was biting. It was burning and strong, but real and sincere.

Lorde once said of her ballad "Liability," “I feel like if I’d had that song when I was 15, maybe it would have been kind to me.” Kind is a strange word to describe the sting of remembrance, but it is an accurate one. To encapsulate loss was to acknowledge the love that was had.

Lorde’s albums are so sacred to their listeners because of their cathartic sincerity. Pure Heroine was a loving chronicle of suburban youth from the honest voice of a 16 year old. Melodrama was similarly vulnerable because of the self awareness that accompanied its party spirit, an awareness too absent in the modern pop genre. Yes, I could be high to the contents of Melodrama but I could lay in the oft forgotten lows with it too.

"Hard Feelings/Loveless" and I unpacked New Jersey together. The screams of "Supercut" and I laid awake on an air mattress replaying visions of elation. "Liability," "Writer in the Dark," and "Sober II (Melodrama)" helped me shift through residual tensions and trauma that remained permanently unresolved. From the memories of years prior and the above tracklist I built a blueprint of a lost home and began again.

Another year later and I’m closing out my last week of Junior year in New Jersey, fully settled in. As the anniversary of both my move and the Melodrama release approach I want to wish Lorde’s sophomore album a happy 2nd birthday. Thank you for growing up with me.

Follow Valentin on Instagram to see more of their work.

"Motel to Motel" : A Playlist by Taryn Albert

For me "Motel to Motel" is a playlist that reminds me that change is okay and inevitable so why not positively go with it. It's one playlist I can keep chasing after the next song to get lost in with its dream tones.

Click here to listen to Taryn's playlist!

Hippo Campus @ House of Blues by Malena Lloyd

Follow Malena on Instagram to see more of her work.

A Playlist for May by Larson Rogers

To bring May to a close, we asked photographer Larson Rogers to create a playlist for us.

"I wanted to feature songs that I find myself listening to every summer no matter what. Most of these songs have been a constant repeat for me since my sophomore year of high school. They remind me of quiet summer nights when you’re driving around during blue time with your windows rolled down, or staying up late and opening the windows in your room so you can feel the warm breeze blow through and hear the buzz of the cicadas in the trees. I feel like those are my happy places and for me these songs always take me there."

Click here to listen to Larson's playlist!

"My Friday Night with The Marías" by Blanca Reyes

The Marías are a bilingual psych-soul band who are based in Los Angeles consisting of lead singer, María, and bandmates Josh (drums and vocals), Jesse (guitar), and Edward (keyboard) who are currently touring the states. I had the opportunity to see them in concert on April 26th in Texas and even though my body was sore for days after the concert, it was one of the greatest experiences of my life.

I first discovered The Marías on Spotify, of course. Their song “Over The Moon” was on repeat for what seemed like an eternity (I’m still not over it) and it was the song I was most excited to see performed live while I was waiting in line at the venue. And I was not disappointed when that moment came, I nearly cried. The whole set was filled with María’s velvety smooth voice, the backing vocals of Jesse and Josh, a quick interactive intermission with the fans led by Josh, singing ‘Happy Birthday’ to a fan and 3/4ths of the band, and the iconic Dave, who played the saxophone throughout the show. Every time Dave came on stage, the crowd just erupted into cheers for him because he added this extra level of fun and soul to the night.

On a deeper level, being Mexican-American, I have a personal connection to two different cultures and when I listen to The Marías, I can feel and hear those two cultures blended to perfection within the music and lyrics. María was born in Puerto Rico and was raised in the states (Atlanta, to be exact) and what I love so much about The Marías is, they balance and transition two languages and cultures beautifully through their music. I also saw it first-hand at the concert when I could tell the girls next to me were nervous about singing the Spanish lyrics themselves but still belted them out best they could. That’s one of the things that was so great about this concert - the atmosphere that The Marías were able to create with their personalities and their music was probably the nicest concert crowd I have ever experienced. Those girls didn’t have to worry about being judged for not knowing perfect Spanish because at the end of the day, we were all there to enjoy great music and to have fun.

Speaking of nice crowds, shoutout to Monica and Andrea. After the concert we waited outside by the band's trailer to meet them and ended up sitting in a circle on the pavement just talking about our favorite music. It took us a good while before we realized The Marías had already started their meet-and-greet inside the venue (it was a dumb moment for us), but I really am grateful that I met them that night because without their encouragement and positive energy, I wouldn’t have had the guts to talk to the band and ask them for a picture. I have horrible social anxiety so the fact that they were able to make me feel comfortable so effortlessly, enough to go up and talk to a band that I admire, is something I will never forget.

Not only was the crowd super nice, but the band members themselves were interactive and they truly cared about getting to know their fans. Like I said, I met the band members after the concert and took pictures with almost everyone. Josh and I talked about how we saw him outside before the concert and he forgot his dinner in the band’s trailer (R.I.P dinner), Jesse was busy working with his guitar but still jumped off the stage just to take a picture with me (I was so nervous to ask him for a pic so thanks for that), Doron, who is playing the bass on tour, also jumped off the stage to take a picture with me and was such a sweetheart. I was so nervous to meet María that instead of using that opportunity to tell her how much I relate to her and am grateful for the band’s representation of the Latin community, I rambled and just told her how my friend was in love with her but I made her laugh so it was a win. I also was too nervous to ask Edward for a picture. Edward, if you’re reading this, I am a coward and I regret not having the guts to talk to you.

All in all, my Friday night with The Marías was a true dream. As a Latina, I’ve always felt pressure to like certain things - especially certain types of music and bands that I just can’t get around to liking. It’s refreshing to find a band who not only has those Latin influences that I was made from but also the American influences that I was raised around. It was an honor to see them live and meet them in such an intimate setting. They’re on tour now - get your tickets! You won’t regret it.

Follow Blanca on Instagram and Twitter to see more of her work.

Track Review : "Pink Sweater! Pink Shoes!" by Tennis Club

If Tennis Club isn’t already on your radar for this month’s album releases, I urge you to draw your attention to the self-proclaimed lo-fi garage band. Tennis Club is a Joplin-based duo led by Wilson Hernandez’s euphonious, gauzy vocals. Just yesterday they released a single entitled “Pink Sweater! Pink Shoes!,” which feels especially confessional and addresses what can only be described as diluted love. “Pink Sweater! Pink Shoes!” serves as a prominent point of progression in Tennis Club’s career. Their self-titled album came out two years ago, filled with fan-favourites like “Birthday” and “Chinese Slippers.” Now, after being signed to a new label, they will be releasing their follow up album Pink.

Tennis Club’s sound can be described as harbouring muted punk energy that feels reminiscent to 1960s surf (arguably the most underrated subgenre of rock). Comprised of mesmerizing melodies juxtaposed with melancholic lyrics, “Pink Sweater! Pink Shoes!” says everything we would want to scream off the edge of a cliff. It combats and chronicles the plights of unrequited love amongst the springtime blues, but preserves a melodic energy that will carry us swiftly into summer. The song is accompanied by a silkily smooth lyric video that is, you guessed it, completely pink. Chock fullof simplistic visuals and heavy meaning, the video will give you some good old teenhood nostalgia.

With the band now signed to Elefant Records and with a new album on the way, it is safe to say that we can anticipate even more bops and bangers from our friendly neighbourhood Tennis Club. And for all you record player folks, you can throw on your rosy sweaters and dance around your room to the entire album on a 10″ pink record on May 31st!



Listen to Tennis Club on your preferred streaming platform and follow them on Instagram to be informed of their future releases and events.

Words by Saffron Maeve

Track Review : "Lost in My Head" by Kit Major

It’s official! The 2000s are back with LA based singer-songwriter, Kit Major’s latest track “Lost in My Head.” Her electrifying vocals fuse with shimmering synth, transporting the listener to an iridescent realm of nostalgia and introspection. Pounding synthetic drum beats and chimes lead into emotionally charged lyrics of internalized anxieties and fears. The lyrical narrative shifts from portraying time lost in your head as a breeding ground for habitual self blame towards a beneficial time for reflection. Listeners will find value in Major's honest glimpse into her mental health, detailing experiences many can relate to. As a whole, Major has crafted a modern pop classic that combines the stylistic edge of early Britney Spears with a timeless and universal narrative.

“Lost in My Head” and the accompanying music video are out now on various streaming platforms. Follow Kit Major on her intergalactic quest to save the future of pop music whilst saving herself from the grips of her own mental health.

Listen to Kit Major on your preferred streaming platform and follow her on Instagram to stay informed of her future releases and events.

Words by Molly Alexander

A Playlist for April by Grace B.

To bring April to a close, we asked artist Grace Baek to create a playlist for us.

"The songs in this playlist are all very near and dear to my heart. These are the sticky tracks that keep me listening over and over because the mood in each is so potent-- I think if there were a theme it would be sentimental + optimistic. I've always loved a sad song but lately I've been into more of the reflective, uplifting ones to keep me happy and focused, and listening to a lot of old faves for a comfy transition into the new season."

Click here to listen to Grace's playlist!

Be sure to check out Grace's "tiny art" on her Etsy.

"Be The Cowboy: Mitski’s Sold-Out Show at the Columbus Athenaeum" by Tricia Stansberry

On a cold, rainy Saturday night I ventured downtown to catch Mitski’s sold-out show at the Columbus Athenaeum, a building that’s been around for over a century and also doubles as a wedding venue. I was immediately blown away by the sheer number of people who had been waiting in the rain for hours before doors opened. The camaraderie amongst these individuals warmed my heart, with people recounting past times they’ve seen Mitski and listing off their favorite songs. While we waited in the pit for Mitski to come out, there was a growing energy in the venue as every square inch of the large venue became occupied. I had never seen Mitski before so when I saw a table and chair being brought out as the stage was being prepared, I was curious how these elements would play a role in her set.

As Mistki walked slowly onto the stage, she began singing “There's nobody better than you / it took me a while till I knew,” and the crowd erupted as people began to sing along to “Goodbye, My Danish Sweetheart,” the opening track from her 2013 album Retired from Sad, New Career in Business. Mitski took a seat at the table and began a passionate rendition of “Why Didn’t You Stop Me?” off of her beloved 2018 record Be The Cowboy. As she continued with tracks such as “Old Friend,” “Dan the Dancer,” and “I Don’t Smoke,” Mitski climbed atop the table and utilized this furniture in ways that can only be described as performance art. The energy in the crowd during favorites like “Geyser” was palpable. During “Nobody,” such a beautiful, melancholic feeling infiltrated the crowd as she sang “I know no one will save me / I'm just asking for a kiss / Give me one good movie kiss / and I'll be alright.” The lights grew blue as the crowd repeated every “nobody” back to her. It was a really beautiful moment and I’m glad I was there to witness it.

Mitski’s set at the Athenaeum was a longer one, much to my delight as well as everyone else around me. She treated us to a two-song encore. The first being “Two Slow Dancers,” which begins with the line “does it smell like a school gymnasium in here?,” to which Mitski gave a knowing smile as this auditorium built in 1896 really did smell like an old gymnasium! Everyone in the crowd laughed and enjoyed the last moments of this incredible set. The last song she performed was “Carry Me Out,” which was incidentally the last song I listened to before I arrived to the venue, as the lyrics “I drive when it rains / at night when it rains I drive / and the headlight spirits / they lead me down the styx” felt appropriate in the rainy, gloomy weather. When the set was over and I looked behind me to everyone else in the packed theater, I was blown away with the sheer number of people who fit into this old theater. But I was not surprised, because Mitski put on one of the absolute best shows I’ve ever been to.

Follow Tricia on Instagram to see more of her work.